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JANUARY
25 CENTS

30 Cents In Canada

You Love, Honor
and Obey These Men?

See Page 3C

BlLLIE SEWARD, vivacious ingenue, intends to stay
as charming and beautiful as she is in the Columbia pic-
ture, "Among the Missing", in which she is now play-
ing opposite Richard Cromwell. You, too, can keep
your figure slim and youthful — the Hollywood way !
Eat Ry-Krisp with every meal. The loveliest movie stars
have learned that Ry-Krisp is a real beauty aid — because
it's filling but not fattening. At meals and between meals
you'll find these crisp, delicious wafers are the perfect
thing to serve — because they taste so good.

tine

Mme. SYLVIA

of Hollywood

World famous authority on the feminine figure — and
Hollywood masseuse. Intimate stories about Holly-
wood— valuable beauty advice. Hear how_yo» can win
duplicates of gowns worn by famous stars — FREE.
Every Wednesday night — NBC Blue Network —
10:15 EST 9:15 CST 8:15 MT 7:15 PCT

Photoplay Magazine for January, 1935

MftO

Starving. . .yet they dw«/

the coming of the FOOD SHIP

FREQUENTLY emaciated and ravenously hungry, the people
of St. Kilda's, the lonely island off the Scottish coast, dreaded
the arrival of the supply ship from the mainland. They realized
that though it brought food to the wilderness it brought also
civilization's curse— the common cold. Illness and death invariably
followed the rattle of the anchor chain. In the Arctic, the Eskimos
had the same experience.

Reviewing such cold epidemics, scientific men came eventually
to the belief that colds were caused by germs, not by exposure, wet
feet, or drafts although these may be contributing causes.

Colds are caused by germs, they say— but by germs unlike any
others previously known. Germs, if you please, that cannot be
seen. Germs so small they cannot be measured except as they
exert their evil effect upon the human body. Bacteriologists call
them the filtrable virus because they readily pass through the most
delicate bacterial filters. Using a liquid containing this mysterious
virus, they have been able to produce repeatedly by inoculation,
one man's cold in other men.

Under ordinary conditions, this virus enters the mouth, nose, or
throat to cause the dangerous infection we call a cold. Accom-
panying it are certain visible germs familiar to all; the pneu-
mococcus, for example, and the streptococcus— both dangerous.
They do not cause a cold— they complicate and aggravate it.

To Fight Colds— Fight Germs

Obviously, the important part of the fight against invisible virus

and visible bacteria should take
place in the mouth and throat.
The cleaner and more sanitary
you keep it, the less chance germs
have of developing.

"The daily use of a mouth-
wash," says one eminent au-
thority, "will prevent much of
the sickness which is so common
in the mouth, nose, and throat.
Children should be taught the
disinfection of the mouth and
nose from their earliest years."

For oral hygiene, Listerine is ideal— so considered for more than
fifty years both by the medical profession and the laity. It possesses
that rare combination absent in so many mouth washes-ade-
quate germ killing power plus complete safety. And of all mouth
washes, it has the pleasantest taste.

Numerous tests under medical supervision have shown that
regular twice-a-day users of Listerine caught fewer colds and less
severe colds than those who did not use it.

We will send free and postpaid a scientific treatise on the germi-
cidal action of Listerine; also, a Booklet on Listerine uses. Write
Lambert Pharmacol Company, Dept. PU-1, St. Louis, Missouri.

For Colds and Sore Throat . . . LISTERINE ...The Safe Antiseptic

Photoplay Magazine for January, 1935

!W#hWW'

ONE OF THE GREAT!

You have heard so much about it. The
world's eagerness to see this beloved
Charles Dickens novel on the screen will be
amply repaid. The two years of waiting are
at an end. Never before has any motion pic-
ture company undertaken the gigantic task
of bringing an adored book to life with such
thrilling realism. 65 great screen personali-
ties are in this pageant of humanity, adapted
to the screen by the famed Hugh Walpole.
The original scenes, the vivid characters,
the imperishable story . . . they live again!

METRO- Goldwyn -MAYER

Directed by GEORGE CUKOR

Produced by DAVID O. SELZNICK

The World's Leading Motion Picture Publication

KATHRYN DOUGHERTY, Editor

William T.Walsh, Managing Editor

Ivan St. Johns, Western Editor

Vol. XLVII No. 2

Winners of Photoplay
Magazine Gold Medal for
the best picture of the year

1920

"HUMORESQUE"

1921

"TOL'ABLE DAVID"
"ROBIN HOOD"

"THE COVERED WAGON*

"ABRAHAM* LINCOLN"

"THE BIG PARADE'

1926

"BEAU GESTE"

1927

"7th HEAVEN"

1928

"FOUR SONS"

1929

"DISRAELI"

1930

"ALL QUIET ON THE
WESTERN FRONT"

1931

"CIMARRON"

1932

"SMILIN' THROUGH"
"LITTLE WOMEN"

January, 1935

High-Lights of This Issue

Close-Ups and Long-Shots

Will Your Favorite Star Survive Color?

Could You Love, Honor and Obey These Men?

Making a Man's Picture ....

Fun Like Mad .....

Hollywood Holiday Follies ....

Scene from "A Wicked Woman''

Cal York's Monthly Broadcast from Hollywood

Seymour — Photoplay's Style Authority

Copperfield in Quest of His Youth

Here's More Perfection for You

All the World's His Stooge ....

Photoplay's Hollywood Beauty Shop

Movie Fill-in Contest Winners

Kathryn Dougherty
Mildrfd Mastin
Arline Merton

KlRTLEY BASKETTE
MlTZl CUMMINGS

Sara Hamilton

Sylvia

Mildred Mastin

Carolyn Van Wyck

Photoplay's Famous Reviews

Brief Reviews of Current Pictures ....
The Shadow Stage .......

Personalities

Me and My Pal .......

A Quartet of Big Pay Babes ......

Nelson Eddy .....

Margaret Sullavan Wants None of It

At Last the Films Round Up Joe

Tha-a-ank You-hoo, Maxine Doyle

Romance with an Angel

Mr. Broadway Gambles Against Hollywood

Kitty Crashes Fame

Norma Shearer Relaxes

Here's One Fat Man Somebody Loves

She's the Belle of the Film Colony

It's Never Been Done Before

The "Rediscovery" of Bill Frawley

Salute May Robson!

Paul Muni and Bette Davis

Tom Meighan Is Restless

Pert's Reducing Vacation

Pat Paterson ....

On the Cover — Shirley Temple-

KlRTI FY BASKETTE

. Jerry Lane
Anne Castle
Julius Irwin

Robert Burkhardt

. Scoop Conlon

Ruth Rankin

Walter D. Shackleton

Painted by Earl Christy

Information and Service

Brickbats and Bouquets . . 12 Screen Memories from Photoplay

Hollywood Menus 94 The Fan Club Corner

Ask the Answer Man 100 Casts of Current Photoplays .

Addresses of the Stars .... 107 Hollywood Cinema Fashions

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Published monthly by MACFADDEN PUBLICATION'S, INC.
Bernarr Macfadden, President Irene T. Kennedy, Treasurer Wesley F. Pape, Secretary

Publishing Office, 333 N. Michigan Ave., Chicago, 111. Business and Editorial Offices, 1926 Broadway, New York City

London Agents, Macfadden Magazines, Ltd., 30 Bouverie Street, London, E. C. 4, England

Carroll Rheinstrom, Advertising Manager, Graybar Bldg., 420 Lexington Ave., New York, N. Y. Charles II. Shaltuck, Manager Chicago Office

Yearly Subscription: $2.50 in the United States, its dependencies. Mexico and Cuba; $3.50 Canada; $3.50 for foreign countries. Remittances

should be made by check, or postal or express money order. Caution — Do not subscribe through persons unknown to you.

Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, 111., under the Act of March 3. 1879

Me and My Pal

That cute little trick, Shirley Temple, tells her Mexican pooch
Poncho to "sparkle." But Poncho looks as though she's about
to do a running leap away from the staring glass eye of the
camera. It may be true that English bulldogs are gentle
creatures, but would you want to be the first to try and get
by George Brent's prize winning pug, Whiskey? And he's
George's constant companion. Jean Muir is asking her fav-
orite canine chum to come take a walk. He is tagged Shandy-
gaff, which is a drink consisting of beer and ginger ale !

Photoplay Magazine for January, 1935

Q-r^ THE PICTURE

OF THE
MONTH

For the Christmas Stockings of a Hundred
Million Film Fans, We Give You Warner
Bros.' Magnificent Picturization of the Stage
Triumph That Made America Young Again

Never has a story brought back so gloriously the good old days
when flaming youth went to town on a bicycle-built-for-two — or
more. That's Papa in the rumble-seat...but where's his shot-gun?

"SWEET ADELINE"

Brought to the Screen After 63 "Weeks — Count 'em,
63 — on Broadway, With Its Immortal Melodies and
Romance That Take Us Happily Down Memory Lane,
Dashingly Guided by Director MERVYN LEROY

We'd like to take up the merrie olde custom of slipper-drinking
ourselves — just to toast that grand trio of fun-makers — Hugh
Herbert, Ned Sparks, Joe Cawthorn — and all the delicious dancing
girls who are too numerous to name— but too sweet nor to mention.

Ever whistle" Why Was I Born? "."Here Ami ",and" Don't Ever
Leave Me"? Well, this is the show that made them famous! Now
you'll hear these and other great Jerome Kern hits sung and danced
as never before — all because Warner Bros, finally lured dance-
director Bobby Connolly of "Ziegfeld Follies" fame to Hollywood.

And while the orchids last, let's toss a load of
them to irresistible Irene Dunne, and Donald
Woods and Louis Calhern for their brilliant tell-
ing of a great love story; to Mervyn LeRoy for his
superb direction; to Phil Regan for his delightful
tenor ; and to Jerome Kern and Oscar Hammerstein
II for authoring December's grandest show !

A Quartet Of
Pay Babes

This manly little lad,
David Holt, went into
his eighth year a few
months ago. Now he's
into high gear in his
screen work, for which
he gets a neat one hun-
dred and fifty dollars
per week. Because he
knows just what to do
when he goes before
the camera

Virginia Weidler, the
petite miss above in
her after-school play
dress, has also passed
her seventh birthday.
Like David Holt, she is
under a Paramount
contract. And since
her outstanding work
in "Mrs. Wiggs," she
is viewed as a big bet
at the box-office

Cherubic June Pres-
ton is about to make
her screen bow under
the optimistic eyes of
RKO-Radioin"Anne
of Green Gables."
June was snapped up
when she paid a visit
to the studio. A keen-
eyed executive saw
her and forthwith
called for a screen
test. Result, a con-
tract

He's known as Baby
(The Scene Stealer)
LeRoy. Old and
young stars watch
him as he comes on
the set. It is said he
rates seventy-five
dollars a week. And
when the actual time
he works is figured
out, it puts him just
about at the top of
the pay-roll, he's
that big a drav/

Photoplay Magazine foe January, 1935

Bigger than THE BIGGEST SHOW ON EARTH

is the amazing story of Barnum! His audacious humbuggery . . . his hilarious family uprisings
. . . the beautiful women who came in — and out — of his life! Not even Barnum himself
could have conceived a more fascinating drama than this — the story he actually lived !

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CENTURY
PICTURE

Written by
Gene Fowler and Best Meredyth

''ir long

ED ARTISTS

By the producers of "THE BOWERY" and "THE HOUSE OF ROTHSCHILD

Consult this pic-
ture shopping
guide and save
your time, money
and disposition

eviews o

Brief R

Current Y ictur

it Indicates photoplay was named as one of the best upon its month of review

ADVENTURE GIRL— RKO-Radio.— Unreeling
Joan Lowell's exciting adventures in the tropics. An
hour packed with action. (Nov.)

AFFAIRS OF A GENTLEMAN— Universal —
Cleverly handled murder mystery film, with Paul
Lukas as the author who makes women in his life
characters in his stories. Good cast includes Dorothy
Burgess, Sara Haden. (July)

• AFFAIRS OF CELLINI, THE— 20th Cen-
tury-United Artists. — Frank Morgan's per-
formance as the Duke of Florence highlights this
sophisticated yarn about the loves of Benvenulo
Cellini (Fredric March). Constance Bennett, as the
Duchess, and Fay VVray are grand. (July)

*AGE OF INNOCENCE, THE— RKO-Radio.
— For those who appreciate an intelligent in-
terpretation of a great theme — love's sacrifice for con-
vention's sake. John Boles and Irene Dunne are a
splendid team. (Nov.)

ALONG CAME SALLY— Gainsborough.— So-so
British musical comedy with Cicely Courtneidge, in
a dual role, and Sam Hardy. (Sept.)

ARE WE CIVILIZED— Raspin Prod.— A drama-
tization of various conflicts from the beginning of
civilization, with a powerful sermon on world peace
by William Farnum. (Sept.)

BABY TAKE A BOW— Fox.— Shirley Temple
scores again as the daughter of an ex-convict (James
Dunn) accused of stealing the "pearls." Alan Dine-
hart, Claire Trevor, Ray Walker. (Sept.)

BACHELOR BAIT— RKO-Radio.— As the pro-
moter of a matrimonial agency scheme, Romance,
Inc., Stuart Erwin is perfect. Pert Kelton, Skeets
Gallagher and Rochelle Hudson. (Sept.)

BADGE OF HONOR— Mayfair — Phony and
amateurish, with some pretty awful dialogue. Buster
Crabbe and Ruth Hall. (Nov.)

• BARRETTS OF WIMPOLE STREET, THE
— M-G-M. — Well nigh perfect is this adapta-
tion of the stage play, with Norma Shearer as the
invalid poetess and Fredric March as her lover.
Charles Laughton and excellent support. (Oct.)

• BELLE OF THE NINETIES— Paramount-
La West comes through again with a knockout
performance. Roger Pryor, John Mack Brown,
Katherine De Mille do well. But the film is a major
triumph of Mae over matter. (Nov.)

BEYOND BENGAL— Showmen's Pictures.— Still
another jungle story with thrilling wild animal shots
and a touching native romance. (Aug.)

BEYOND THE LAW— Columbia.— Railroad de-
tective Col. Tim McCoy's investigation of a killing is
packed with suspense and action. Shirley Grey.
{Oct.)

• BIG HEARTED HERBERT— Warners.—
Just one heartfelt laugh. Guy Kibbee is
grouchy father, continually reminding Aline Mac-
Mahon and their children of his struggle to success.
(Nov.)

BLACK CAT, THE— Universal.— No great sus-
pense in Boris Karloff's latest "chiller." Anddangers
that threaten Bela Lugosi, David Manners, Jacque-
line Wells while in his weird abode seem all too uncon-
vincing. (July)

BLACK MOON— Columbia.— If you're in the
mood to see a white woman (Dorothy Burgess) en-
slaved by Voodooism, you'll probably enjoy this.
Jack Holt and Fay Wray fine. (Sept.)

BLIND DATE— Columbia.— Moderately satis-
factory film fare about Ann Sothern going out with
Neil Hamilton when "steady" Paul Kelly lets
business interfere with her birthday party. (Oct.)

BLUE LIGHT, THE— Mayfair Prod.— This
artistic Leni Riefenstahl production will be enjoyed
by all intelligent audiences though dialogue is in
German and Italian. Magnificent camera effects
in the Tyrol. (Aug.)

BLUE STEEL— Monogram.— John Wayne again
outgallops, outshoots and outwits the outlaws,
and rescues heroine Eleanor Hunt. (Aug.)

BRIDE OF THE LAKE, THE— Amer-Anglo
Prod. — Pleasant romance against a background of
Irish country life. Nobleman John Garrick in love
with peasant girl Gina Malo. Stanley Holloway
sings Irish ballads. (Dec.)

BRIDES OF SULU— Exploration Pictures Corp.
— Regard this as a scenic travelogue and try to over-
look the poor dialogue. Interesting customs and
characters, with Philippine Archipelago background.
(Oct.)

Fill-in

Contest

Winners!

A complete list

of the lucky ones

will be found

on page 116 —

this issue of

Photoplay

• BRITISH AGENT— First National.— Locale
— Russia during the war; characters — Leslie
Howard, a British agent, and Kay Francis who loves
him, but is also passionately devoted to her country.
Deft direction; capable cast. See this! (Oct.)

• BULLDOG DRUMMOND STRIKES BACK
— 20th Century-United Artists. — You must
see Ronald Colman as the amateur detective who
leaps headlong into the most baffling case in many a
day. Loretta Young, Charles Butterworth fine.
(Aug.)

BY YOUR LEAVE— RKO-Radio.— You'll chuckle
plenty. Frank Morgan is the picture, as the husband
in his forties who wants to be naughty and lias for-
gotten how. Includes Genevieve Tobin. (Dec.)

CALL IT LUCK— Fox.— An old plot, but Her-
bert Mundin's cockney cabby characterization and
Pat Paterson's fresh charm make it fair entertain-
ment. (Aug.)

• CARAVAN — Fox. — For a riotous carnival of
song, dance, costume and operetta plot, we
recommend this film laid in Hungary. A-l cast in-
cludes Jean Parker, Charles Boyer, Loretta Young
and Phillips Holmes. (Nov.)

CASE OF THE HOWLING DOG, THE—

Warners. — Smooth and clever, different and divert-
ing murder varn. Lawyer Warren William solves
mystery Mary Astor, Gordon Westcott. (Nov.)

• CAT'S PAW, THE— Fox.— Doing his familiar
characterization — the naive young man for
whom even the most difficult situations come out
well — Harold Lloyd scores again ! This time he's a
missionary's son, visiting America. Una Merkel.
(Oct.)

CHAINED— M-G-M.— Splendidly written, acted,
directed, with Joan Crawford married to Otto
Kruger and in love with Clark Gable. (Nov.)

CHANGE OF HEART— Fox.— Admirers of the

Janet Gaynor-Charles Farrell team will like this
light tale about their experiences with two college
chums in the big town. (Aug.)

CHANNEL CROSSING — Gaumont-British.—
Melodrama aboard the Dover-Calais liner, in which
Constance Cummings, Anthony Bushell, Nigel
Bruce, Matheson Lang all take important parts.
(Aug.)

CHARLIE CHAN IN LONDON— Fox.— Warner

Oland (Charlie Chan) ha< three days to prevent ex-
ecution of Drue Leyton's brother, accused of a
murder he did not commit. Alan Mowbray involved.
(Dec.)

CHARLIE CHAN'S COURAGE — Fox. — This
yarn, centering around Warner Oland's difficulties in
delivering a string of pearls, is the least amusing of
the Charlie Chan series. (Sept.)

CHEATERS— Liberty.— Racketeer Bill Boyd s
reform of his entire gang, when he falls for June
Clyde, makes an amusing little tale. Dorothy
Mackaill, Alan Mowbray and William Collier, Sr.
do nicely. (July)

CHU CHIN CHOW— Fox-Gaumont- British —
Colorful British version of Ali Baba and the Forty
Thieves. Fritz Kortner, German star, and Anna
May Wong excellent in leads. (Dec.)

CIRCUS CLOWN, THE— First National.— Joe
E. Brown splendid in the sympathetic role of circus
roustabout who later becomes a trapeze artist.
Patricia Ellis and good support. (Aug.)

CITY PARK— Chesterfield.— As one of three
cronies who become involved in the destiny of a girl
(Sallie Blane) gone broke in the big city, Henry B
Walthall is superb. (Nov.)

• CLEOPATRA — Paramount. — A passionate
love story, with Claudette Colbert splendid in
the title role, Warren William as Caesar, and Henry
Wilcoxon as Antony. A typical DeMille spectacle
(Sept.)

• COCKEYED CAVALIERS— RKO-Radio —
A hilarious hour in Merrie Olde England with
Wheeler and Woolsey, Dorothy Lee, Thelma Todd
and Noah Beery. Two sure-fire song hits. (-4 hi;.)

CONSTANT NYMPH, THE— Fox-Gaumont-
British. — Margaret Kennedy's novel about the chil-
dren of the mad composer, Sanger, artistically
adapted to the screen. Brian Aherne and Virginia
Hopper, his constant nymph, give beautiful por-
trayals. (July)

* COUNT OF MONTE CRISTO, THE— United
Artists. — A thrilling film which builds steadily
to the dramatic courtroom climax. Robert Donat is
Danles- Elissa Landi fine, too. (Nov.)

• CRIME WITHOUT PASSION— Paramount.
— A truly remarkable picture, that has for its
theme the workings of an unscrupulous mind. Claude
Rains, Margo, Whitney Bourne all first-rate. Sus-
pense maintained throughout. (Nov.)

[ PLEASE TURN TO PAGE 14 ]

Photoplay Magazine for January, 1935

I I

Another glorious
Hepburn romance to
share your treasured
memories of "Little
Women". Another beautiful
RKO picture from one of the
great love stories of the ages. Another
radiant acting triumph by the year's
outstanding star, as she brings you
a role endearingly different — the

fire and wistful tender-
ness of Barrie's immortal Gypsy "Babbie".
Really something more than a motion
picture — a Christmas gift for your heart!

<^4-ll or lire ± cflaJine^s . . . all it A pain. . . . blended in- love A old Aweet zonal

Brickbats <& Boucfiiets

THE AUDIENCE TALKS BACK

• • • •

"V7"OU*D almost think this was a lovelorn column or cupid's
J- headquarters these days! Letters on Charles Boyer's sex-
appeal, and advice to dissatisfied wives, and one on harems — my,
my! We got so steamed up we even gave a prize to a letter that
mentioned sex twenty-two times. It must he that love's in
bloom. And it's nice to have a good crop of bouquets floating in
for a change

THE $25 LETTER

It was not until I married that I ever at-
tended the movies.

When a child I longed with a passion that
became an obsession to go to the movies. But
when I saved penny by penny till I had the
fare my father wouldn't hear of my going. He
was surprised that a child of his even thought
of contaminating herself by going to "the
devil's playhouse."

Since my marriage I'm thankful to say I've
been a frequent attendant and I get more
. pleasure and relaxation from a good movie
than from any form of recreation.

But somehow I can't forget that forlorn kid
who was denied the supreme pleasure. So each
week I pick two children from the poverty
st ri( ken district and take them with me to the
movies. Their shining eyes and happy faces
are all the thanks I need And when I find a
man or woman who is blue and burdened with
troubles I press a quarter in his or her hand and
tell them to go see a picture.

Mrs. H. E. Adam, Cedartown, Ga.

THE $10 LETTER

Let's abolish sex! Make a law against it!
Sexcommunicate everybody who breaks the
law, no sexcuses, no sexceptions, no sexemp-
ti"iiN no sextenuating circumstances! Every
sintelligent sindividual should sindorse it.

Let's have no more of Eddie Cantor's sin-
uendo, no more of Wheeler and Woolsey's sin-
temperance, no more of Ann Harding's sin-
timacies, nothing as sexotic as Kay Francis, no
more of Jean Harlow's sexpositions, no more of
the sexquisite Garbo and the sinternational
Sten: we must sexpurgate the sexhuberant Mae
West, and alas, we must sexterminate the sex-
pressive Harpo Marx.

Let's take the sin out of sinema! No more
sextravaganzas like "42nd Street" and "Gold
Diggers." We will show only sexalted sex-
amples like Mickey Mouse and Shirley Temple,
who are surely sexempt from sexecration.

We'll give the sinsors a break!

But what of the sexchequer? Will we pay
sexpenses? For sex is still spelled Sex! Can
w e get a guarantee against sinsolvency?

Yours with much sinterest,
Fraxces M. Stephenson, Columbia, Tenn.

THE $5 LETTER

Last Winter, I was very poor. I had a tem-
porary job that paid me five dollars a week —
barely enough for food and shelter. Christmas
was coming. The Christmas trees, the tinseled
shop windows, the " Silent Night, Holy Night"
of the Salvation Army band, mocked me. I'd
always loved Christmas so. This year, when I
could neither go home nor send gifts, I hated it.

On Christmas Eve I couldn't go to church —

there would be old songs I loved, remem-
brances, I couldn't stand it.

I had twenty cents in my purse — and that
was all. I knew a girl who was penniless.
"Come on, I'll take you to a show," I said.

We forgot there had been happier Christ-
mases. We sat there and saw the picture
through three times. Afterward, we ran

through the frosty night, and fell into our beds
to get warm, re-living the picture until sleep
brought us forgetfulness.

If I had my way, I'd give every poor person
in the world a free ticket to a movie for a
Christmas gift.

Anita Pinkiiam, Minneapolis, Minn.

GARBO VS. BENNETT

Having just come from a showing of "Out-
cast Lady" I am impelled to compare it with
"A Woman of Affairs" as played some years
ago by Garbo. Both pictures, as you know,
are made from the book "The Green Hat."

In "Outcast Lady" Miss Bennett gives a
smooth, excellent performance. But never
once does she make me feel like that Iris is an
individual, a warm, living personality. It
seems to me hers is a carefully studied tech-
nique. Polished, to be sure, but it leaves me
cold.

In "A Woman of Affairs" Garbo created an
Iris so vital, so alive that my heart ached with
the poignancy of her suffering. While Miss
Bennett's a clever young actress. Garbo is the
rare genius who interprets with an almost
divine understanding the souls of her char-
acters.

Nora Delpree, Kiowa, Colo.

When the audience speaks the stars and
producers listen. We offer three prizes for
the best letters of the month— $25, $10
and $5. Literary ability doesn't count.
But candid opinions and constructive sug-
gestions do. We reserve the right to cut
letters to fit space limitations. Address
The Editor, PHOTOPLAY Magazine, 221
West 57th Street, New York City.

When Constance Bennett played
Iris in the recent version of "The
Green Hat," titled "Outcast
Lady," comparisons with Garbo
were inevitable. Male lead was
Herbert Marshall

The lady reader who writes that
George Bancroft is a member of
her screen star harem should hear
him play chopsticks with Roscoe
Karns. Georgie's rendition is
irresistible!

IIAKEM OF STARS

It's time we women admitted that we really
are all polygamous at heart! When we see
George Bancroft portray real he-man parts in
which the heroine leads a tempestuous, here-
today-gone-tomorrow existence, we thrill to it
and vow that is the only life for us.

Until, we see Leslie Howard and Herbert
Marshall with their quiet sophisticated gen-
tility. Then, just as suddenly, the old heart
does a right-about-face, for handsome Gable is
in the next movie we see!

Ah me! The Sultan of Turkey used to have
his harem of women but we women secretly
have our harem of stars.

Emma Emmett, Portland, Ore.

CROONERS' KITTY

Salvos of praise to a new sensation — Kitty
Carlisle. She actually looks intelligent all the
time that Bing is singing to her. This is re-
freshing after seeing other girls with an inane
emptiness of expression while listening to the
crooning of the male.

Marguerite Varnes, Denver, Colo.

TILE COLONEL'S GREAT IN COURT!

Cheers! Cheers! Cheers!

For Henry B. Walthall, for his splendid per-
formance in the picture "Judge Priest."

No other actor has ever come so near stealing
a picture from Will Rogers as did Mr. Walthall
in the courtroom scene.

I remember Mr. Walthall years ago as the
Little Colonel in the picture "The Birth of a
Nation." He was a great actor, then. I He is
great now.

T. Matthews, Houston, Tex.

TEAM 'EM, STUDIOS

Here are some screen teams we fans would
like to see together:

Ann Harding and Fredric March
Norma Shearer and Clive Brook
Claudette Colbert and Ronald Colman
Carole Lombard and George Brent
Margaret Sulla van and Robert Mont-
gomery

Madge Evans and Richard Arlen
Loretta Young and Joel McCrea
Frances Dee and Robert Young
Joan Bennett and Lew Ayres

B. Holt, Fort Smith, Ark.

MORE—

And while you're on the subject of screen
teams, how about Tom Brown and Anita
Louise? On the screen, off the screen, they're
my idea of a swell pair!

June Ellis, St. Louis, Mo.

NO GYP

Anna Sten cost Sam Goldwyn a million
dollars. (So you said in a past issue of Photo-
play.) Well, believe me! She's worth it! I've
just seen Miss Sten in "We Live Again," and
while it only cost me fifty-five cents to see the
show, I think Goldwyn and I both got our
monev's worth.

J. M. P, New York City

For consistently fine performances over a
longperiod of time I vote a gold medal to Lewis
Stone. I do feel, however, that Mr. Stone's
mlcs recently haven't been quite as good as
they have in the past. Please, Mr. Movie
Executive, keep Stone in leading or strong
supporting roles.

R. L., Stamford, Conn.

You can just quote me as saying, "I have
just seen 'The Gay Divorcee' with Fred
Astaire and Ginger Rogers, and wish to say it
is the most delightful picture I've seen for
years" — and let it go at that. P. S. — I've seen
it three times.

Lilith Kitchell, Kansas City, Kans.

CHARLES HAS WHAT IT TVKKS

Talk about sex-appeal! I didn't know the
meaning of the word until a few days ago when
I saw Charles Boyer in "Caravan." One day
Boyer was only another obscure actor to me
and the next I had him heading my list i f
favorites.

Bertha Smith, Mullins. S. C.

LONG A WINNER

She's been my favorite star for fifteen years.
On the screen and in the public print, I've
followed her through flops, tremendous suc-
cesses, changing roles, motherhood, four mar-
riages. I'm glad now to see her back on the

Nearly nineteen years ago Henry B. Walthall
(above) won movie fame for his fine portrayal
of the Little Colonel in "The Birth of a Nation."
Today he's gathering laurels for a performance
just as outstanding in the Fox production,
"Judge Priest" fright)

screen again, more beautiful than ever, in a
smashing good picture. I'm talking about
Gloria Swanson, star of "Music in the Air."
Evelyn Andrews, Des Moines, Iowa

SEALS FOR BABES?

I thoroughly enjoyed your article, "Robbing
the Cradle for Stars," in the November Phi i i <>-

PLAY.

However, I think the sudden outcrop of child
PLEASE TURN TO PAGE 16

Brief Reviews of Current Pictures

CONTINUED FROM PAGE 10 ',

CRIMSON ROMANCE— Mascot.— War story,
good flying, plenty combat scenes. Two pals, Ben
Lyon and James Bush, both fliers, of course, fall in
love with ambulance driver Sari Maritza. (Dec.)

DAMES — Warners. — A barrel of good humor, and
excellent tunes bv Dick Powell, teamed again with
Ruby Keeler. ZaSu Pitts, Guy Kibbee, Hugh
Herbert supply comedy, and Joan Blondell lends a
snappy touch. (Oct.)

DANCING MAN — Pyramid. — Mediocre murder
mystery, featuring Reginald Denny as a gigolo in love
with Judith Allen and affairing with her step-
mother, Natalie Moorhead. (Oct.)

• DANGEROUS CORNER— RKO-Radio.— A
story with two endings — what happened and
the "cover-up." Involves a "suicide" — actually a
murder. Full of startling revelations. Ian Keith,
Erin O'Brien Moore, Conrad Nagel, Melvyn Douglas,
Virginia Bruce, others. Excellent. (Dec.)

DEATH ON THE DIAMOND— M-G-M — Im-
probable in spots, yet meat for baseball and mystery
devotees. Paul Kelly convincing as a reporter.
Robert Young and Madge Evans love interest. (Nov.)

DEFENSE RESTS, THE— Columbia.— Enter-
taining story of a none-too-ethical but unbeatable
criminal lawyer (Jack Holt) forced to defend a kid-
naper. Jean Arthur. (Nov.)

DESI RABLE— Warners— A neat gem that will
please the entire family. New laurels for Jean Muir
and George Brent. (Nov.)

• DOUBLE DOOR— Paramount.— A sinister,
melodramatic plot that works up to a terrific
climax. Mary Morris is aptly cast as the spinster who
cruelly rules over brother Kent Taylor, sister Anne
Revere, and Kent's bride, Evelyn Venable. (July)

DOWN TO THEIR LAST YACHT— RKO-

Radio. — Fine cast wasted in this tale of "Blue
Bookers" of 1929 giving away to "Brad Streeters" of
1934. Sidney Fox, Ned Sparks, Polly Moran, Mary
Boland, Sidney Blackmer. (Nov.)

DRAGON MURDER CASE, THE — First

National. — Not up to the S. S. Van Dine standard —
nevertheless satisfactory film fare. Warren William
is a convincing Philo Vance. Helen Lowell, Mar-
garet Lindsay, Lyle Talbot. (Nov.)

DR. MONICA — Warners. — Kay Francis handles
the title role with finesse. And Jean Muir, as the
friend in love with Kay's husband (Warren William),
is superb. (Sept.)

DUDE RANGER, THE— Fox.— If you like West-
erns, you may like this one. George O'Brien rides.
Irene Hervey, Leroy Mason, Henry Hall in it. (Dec.)

ELMER AND ELSIE— Paramount.— Light family
fare, with Frances Fuller and George Bancroft who
reveals hitherto concealed comedy talents. (Oct.)

EMBARRASSING MOMENTS— Universal— In
the role of a practical joker, Chester Morris does an
excellent acting job, and there's never a dull moment.
Marian Nixon, Walter Woolf. (Aug.)

FOG OVER FRISCO— First National.— Fairly
exciting mystery is provided when Bette Davis
becomes "fence" in.stolen security racket. And there's
romance by Margaret Lindsay and Donald Woods,
Lyle Talbot, Arthur Byron. (July)

FOR LOVE OR MONEY— British & Dominion.
— Catalogue this one under "Mild and Slow-Moving."
Wendy Barrie and Robert Donat play the leads.
(Oct.)

FOUNTAIN, THE— RKO-Radio.— Rather slow-
moving, yet exquisitely produced with a capable cast
including Ann Harding, Paul Lukas and Brian
Aherne. (Nov.)

FRIDAY THE 13th— Gaumont-British.— An in-
teresting and revealing check-back on the activities
of several persons who are in a bus crash at mid-
night of this fateful day. (Aug.)

FRIENDS OF MR. SWEENEY— Warners.— Fair
slapstick, with Charles Ruggles a scream as the row-
dy college lad who becomes a brow-beaten editorial
writer. Eugene Pallette, Ann Dvorak. (Aug.)

• GAY DIVORCF-E, THE — RKO-Radio. —
Grandly amusing. Fred Astaire's educated
dancing feet paired with those of Ginger Rogers.
He's mistaken for a professional corespondent by
Ginger, seeking a divorce. Edward Everett Horton,
Alice Brady pointed foils. (Dec.)

• GIFT OF GAB— Universal.— Edmund Lowe,
fast talking news announcer, flops, but is
boosted up by Gloria Stuart. Story frame for gags,
songs, sketches. Alexander Woollcott] Phil Baker,
Ethel Waters, Alice White, Victor Moore. (Dec.)

• GIRL FROM MISSOURI, THE— M-G-M.
— Fast and furious adult fare, presenting Jean
Harlow as a "good girl" chorine, and Franchot
Tone as her millionaire "catch." Fine cast includes
Lionel Barrymore. (Oct.)

GIRL OF THE LIMBERLOST, A— Monogram.
— Folks who enjoyed Gene Stratton Porter's novel
will want to see this. Marian Marsh, Louise Dresser,
Ralph Morgan well cast. (Nov.)

GRAND CANARY— Fox.— Weak tale of a doctor
(Warner Baxter) who, having been "gossiped" out of
his profession, recaptures past standing by wiping out
a plague of yellow fever. Madge Evans is his
romance. (Sept.)

GREAT FLIRTATION, THE— Paramount-
Jumbled and sentimental but colorful story of an
actor's (Adolphe Menjou) losing popularity with
marriage, and his wife (Elissa Landi) becoming a
star. (.4 ug.)

HALF A SINNER— Universal.— Film version of
"Alias the Deacon," with Berton Churchill again
rating loud handclaps. Joel McCrea and Sallie Blane
are the love interest. And Mickey Rooney is a good
little comedian. (July)

• HANDY ANDY— Fox.— As the apothecary.
Will Rogers does another of his priceless char-
acterizations. Besides an A-l cast — Peggy Wood,
Mary Carlisle and Frank Melton — there is good dia-
logue and believable burlesque. (July)

• HAPPINESS AHEAD — First National. —
Tuneful and peppy. About a wealthy miss and
(honest!) a window washer. Josephine Hutchinson
(fresh from the stage), and Dick Powell are the two.
You'll like it and hum the tunes. (Dec.)

HAPPY LANDING— Monogram.— Plenty of
thrills when Border Patroller Ray Walker goes after
crooks who use the radio to get him in a jam, and
threaten bombing an ocean liner. A-l support.
(Oct.)

HAT, COAT AND GLOVE— RKO-Radio.— Fair
adaptation of the stage play, in which lawyer Ricardo
Cortez defends his wife's lover, accused of murder.
Superb performances by every cast member. (Oct.)

HAVE A HEART— M-G-M.— A wistful tale about
the love of a cripple (Jean Parker) for an ice-cream
vendor (Jimmy Dunn). Una Merkel - Stuart Erwin
are a good comedy team. (Nov.)

HEART SONG— Fox-Gaumont-British— A pleas-
ant little English film with Lilian Harvey and Charles
Boyer. (Sept.)

HERE COMES THE GROOM— Paramount —

So-so comedy featuring Jack Haley whom Patricia
Ellis introduces to family as her crooner husband.
But the real crooner turns up — and then! (Aug.)

• HERE COMES THE NAVY— Warners.— One
of the best Cagney pictures to date, and prob-
ably the most exciting navy picture you've seen.
Jimmy, Pat O'Brien, Gloria Stuart and Frank
McHugli all turn in ace performances. (Sept.)

HE WAS HER MAN— Warners.— Jimmy Cagney
in a gangster film with a brand-new angle. Joan
Blondell, Victor Jory. Fair. (Aug.)

• HIDE-OUT— M-G-M.— As a racketeer play-
boy, escaped from police, and being "done
over" by Maureen O'Sullivan. Robert Montgomery
does a fine job. In fact, every one in the cast rates
praise. (Oct.)

HIGH SCHOOL GIRL— Bryan Foy Prod.— Plot

and dialogue are directed toward early sex knowledge.
Well presented. Crane Wilbur, Cecilia Parker.
(Aug.)

• HIS GREATEST GAMBLE— RKO- Radio-
Richard Dix's struggle with his convention-
loving wife for the molding of daughter Edith Fellows'
character makes interesting screen fare. Dorothy
Wilson and Bruce Cabot. (Sept.)

HOUSEWIFE— Warners.— Encouraged by his
wife (Ann Dvorak), George Brent starts his own
business, acquiring wealth and a mistress (Bette
Davis). Just so-so entertainment. (Oct.)

• HUMAN SIDE, THE— Universal.— Accu-
rately titled — a family story that is entertain-
ing from start to finish. Adolphe Menjou, Doris
Kenyon, Reginald Owen. (Nov.)

I CAN'T ESCAPE— Beacon Prod.— Onslow
Stevens does a grand characterization of the ex-
convict who goes straight when he meets the right
girl (Lila Lee). (Aug.)

Photoplays Reviewed in the Shadow Stage This Issue

Save this magazine — refer to the criticisms before you pic\ out your evening's entertainment. Ma\e this your reference list.

Page
Anne of Green Gables — RKO-Radio ... 75
Autumn Crocus — Associated Talking

Pictures 120

Broadway Bill — Columbia 73

Captain Hates the Sea, The — Columbia 74

Cheating Cheaters — Universal 120

College Rhythm — Paramount 74

Elinor Norton — Fox 120

Enter Madame — Paramount 120

Evelyn Prentice — M-G-M 74

Firebird, The — Warners 74

Flirtation Walk— First National 74

Fugitive Lady — Columbia 120

Gay Bride, The— M-G-M 120

Page
Gentlemen Are Born — First National. . 75

Great Expectations — Universal 73

Girl O' My Dreams— Monogram 120

Green Eyes — Chesterfield 120

Hell in the Heavens — Fox 75

I Sell Anything— First National 120

Kentucky Kernels — RKO-Radio 74

Kid Millions — Samuel Goldwyn-United

Artists 72

Lightning Strikes Twice— RKO-Radio. 120

Limehouse Blues — Paramount 120

Little Friend — Gaumont-British 75

Lost in the Stratosphere — Monogram.. 120

Page

Loyalties — Harold Auten Prod 120

Man of Aran — Gaumont-British 75

Music in the Air — Fox 73

Norah O'Neale— Clifton-Hurst Prod.. .120

Painted Veil, The— M-G-M 72

Return of Chandu, The — Principal. . . .120

St. Louis Kid, The — Warners 75

Secrets of Hollywood — Scott-Merrick

Prod 120

Transatlantic Merry - Go - Round —

United Artists 120

White Parade, The— Fox 72

Without Children— Liberty 120

I GIVE MY LOVE— Universal.— Paul Lukas,
Wvnne Gibson, Eric Linden, John Darrow all de-
serve better than this familiar story of the mother
who makes a great sacrifice for her son. (Aug.)

I HATE WOMEN— Goldsmith Prod.— Intrust-
ing newspaper story about Wallace Ford, confirmed
woman-hater, falling for June Clyde. Good comedy
by Fuzzy Knight. Bradley Page, Barbara Rogers and
Alexander Carr also in cast. (July)

IT'S A BOY— Gainsborough.— In this British
farce, Edward Everett Horton is top-notch, but that
isn't quite enough to carry the whole picture. (Sept.)

JANE EYRE — Monogram. — The old classic, han-
dled with taste, but slow in the telling. Virginia
Hi uee is very beautiful, and Colin Clive does a good
acting job. (Sept.)

• JUDGE PRIEST— Fox.— Will Rogers makes
Irvin S. Cobb's humorously philosophical char-

actei live so enjoyable, you wish you were a part of
the drowsj Kentucky setting. The music heightens
your desire. Tom Brown, Anita Louise the love in-
terest. Perfect cast. (Dec.)

JUST SMIT H — Gaumont- British. — Amusing
comedy, from Frederick Lonsdale's play "Never
Come Back," boasting an all-English cast headed by
Tom Walls. Monte Carlo locale. (July)

KANSAS CITY PRINCESS, THE— Warners.—
Comedy, "so-called," about two manicurists (Joan
Blondell, Glenda Karrell) out to do some gold-
digging. Not for children. (Nov.)

KEY, THE — Warners. — Melodrama about the
Sinn Feiners warfare witli English troops in Dublin
in 1<)20. Colin Clive, William Powell, Edna Best.
Plot weak in spots. (Aug.)

KISS AND MAKE-UP— Paramount.— Plenty of
laughs while Genevieve Tobin divorces Edward
Everett Horton to marry beauty specialist Cary
Grant who really loves Helen Mack. (Aug.)

• LADIES SHOULD LISTEN— Paramount —
Delightfully adult society comedy, with Cary
Grant revealing himself as a farceur of distinction in
the role of a Parisian bachelor. Frances Drake,
Edward Everett Horton and Nydia Westman all
splendid. (Oct.)

• LADY BY CHOICE— Columbia.— Fresh and
original, with a new situation for May Robson.
Carole Lombard, fan dancer, "adopts" May, an
irrepressible alcoholic, as her mother for a publicity
gag. Roger Pryor, Walter Connolly important. (Dec.)

LADY IS WILLING, THE— Columbia.— Leslie
Howard in a mild little English farce. Binnie Barnes,
Nigel Bruce. (Nov.)

• LAST GENTLEMAN, THE— 20th Century-
United Artists. — An interesting character
study of an eccentric old man (George Arliss) who
can't decide on his heir. Real, refreshing and enter-
taining. Splendid support. (Aug.)

LAST WILDERNESS, THE— Jerry Fairbanks
Prod. — A most effective wild animal life picture.
Hasn't bothered with the sensational and melo-
dramatic. Howard Hill deadly with bow and arrow.
(Dec.)

LAUGHING BOY— M-G-M.— Dull, slow-mov-
ing filmfare about Indian boy Ramon Novarro's love
for Lupe Velez who knows evil ways of the white
race. Effective photography. (Aug.)

LEMON DROP KID, THE— Paramount.— A
race-track tout goes straight for marriage and a baby.
Lee Tracy, Helen Mack, William Frawley, Baby
LeRoy, Minna Gombell, Henry B. Walthall. (Dec.)

• LET'S TALK IT OVER— Universal-
Young and old will be amused by the trans-
formation of sailor Mike McGann (Chester Morris).
All for the love of a society damsel (Mae Clarke).
Wag.)

LET'S TRY AGAIN— RKO- Radio.— Slow-mov-
ing and much too talkie is this film in which Diana
\\ ynyard and Clive Brook play a ten-years-married
couple falling out of love. Helen Vinson. (Oct.)

LIFE OF VERGIE WINTERS, THE— RKO-

Radio. — Louis Bromfield's story of a lingering,
illicit love sacrificed to a political career is well acted
by Ann Harding and John Boles. Supporting cast
first-rate. (Aug.)

• LITTLE MAN, WHAT NOW?— Universal.—
Touching and very real is this story of a young
couple's struggle with life. Margaret Sullavan is
superb, and Douglass Montgomery's role fits him
like a glove. (Aug.)

• LITTLE MISS MARKER— Paramount.—
Baby Shirley Temple, left as security for an
I. O. V., simply snatches this film from such com-
petent hands as Adolphe Menjou, Charles Bickford,
and Dorothy Dell. Don't miss it. (July)
[ PLEASE TURN TO PACE 110 1

Photoplay Magazine for January, 1935 i r

TWO BRILLIANT STARS BROUGHT TOGETHER
IN A HEAVENLY PICTURE

The producers of "It Happened One Night","Lady For A Day"

and One Night Of Love Now Bring You The Greatest

Romantic Comedy Of All Time I

\Jreat Alone . . .
Perfect Together I

WA R N -E R

M Y R N A

BAXT-ER LOY

A FRANK CAPRA

PRODUCTION

By Based on the story by

ROBERT RISKIN MARK HELLINGER

with WALTER CONNOLLY

HELEN VINSON
A COLUMBIA PICTURE

Ask at your favorite theatre when this picture will he shown

Brickbats & Bouquets

DON'T SAY IT, WRITE IT

• • • ©

• • • •

CONTINUED FROM PAGE 13

talent on the screen is just a passing fancy.
Today a cunning child tops handsome heroes
and beautiful girls at the box-office any night
in the week. But by tomorrow the pendulum
of public favor may swing from babes to black-
faced comedians or trained seals. Who knows?
George Mack, Omaha, Neb.

WANTED:

NETWORK

If I had a million I'd buy a radio station and
give coast-to-coast broadcasts in praise of
Helen Mack. As it is, I'll have to content my-
self with a twenty-five cent megaphone, which
will serve the same purpose in a smaller way.
I think she's one of the grandest little actresses
on the screen, and certainly the prettiest.

A. R. L., Knoxville, Tenn.

AMEN !

"The Barretts of Wimpole Street," this very
night, has taught me the difference between
the Amen of a parent who breeds hate and fear
in the souls of his children and the Amen of
love, capable of destroying illness and the fear
of death. No greater sermon has ever been
preached than by this stirring drama. If I

were given one wish, it would be that every
mother and father who dominate their sons and
daughters might see this picture.
Mrs. Harold Van Tassell, Newark, Ohio

MRS. CUPID

I would like to say a word to all dissatisfied
wives. Annex a movie hero!

The advantages are numerous:

No broken homes.

No lawyers' fees.

No half orphaned children.

No scandal.

No divorce.

When the world goes wrong just take the
afternoon off and see your favorite movie star.
For a blissful hour you will be the most desired
of all women, your every wish granted by a
handsome man who is always romantic (as our
John never was), never forgets to be polite and
never, never makes a scene over the bills.

You will return home from a movie with a
veneer of well being that can withstand being
blamed for everything, from junior's tummy
ache to the rain's spoiling an afternoon of golf.
And it costs so little!

Mary Miksch, Clovis, N. M.

MOVIE MIRACLE

The police department of a hamlet went to
the home of a man upon being informed that
contraband articles — machine guns, pistols,
counterfeit money, etc. — were hidden there.

They surrounded the house, then the captain
stole in quietly and covered the suspect. At
the police station after the suspect was booked,
the captain asked him why he had not tried to
escape, and why he had not continued to keep
the contraband hidden.

The man answered, " I saw a movie last
night, 'The Defense Rests,' with Jack Holt.
I've been thinking it over and decided to end
my career of crime myself, before another ends
it forme. I'm willing to take my punishment."

Charles Enibindek, Minneapolis, Minn.

We don't know whether or
not Anna Sten can win at
ping pong, but she certainly
comes out on top with the
movie audience ! Latest
fame-winner for Miss Sten
is "We Live Again"

Lewis Stone is dashing over
to the M-G-M lot to begin
work on "David Copper-
field." That should satisfy
admirers who feel his recent
roles haven't been up to
past standards

Call off the bloodhounds! Little man, you've had a busy day!
Irvin S. Cobb is all worn out after his jail break. People have
been hollering for funnier comedies, so Colonel Cobb is com-
ing through with a series for Hal Roach, one of which is "The
Ballad of Paducah Jail." Cobb says it isn't biographical, even
if it is about Paducah

HATS OFF, PLEASE

It ain't no sin to go to the movies, but it is a
sin to lose one's temper and swear.

Along with the Mae West influence and the
"Gay Nineties" styles, large hats have reap-
peared.

We sit behind them swearing to ourselves,
missing half the picture, craning our necks.

Isn't it about time to display that old sign
on the screen again, "Will the ladies please
remove their hats?"

Mrs. Paul Redeker, Springfield, 111.

HAPPY ENDINGS?

There seems to be some timidity on the part
of producers in making pictures with tragic
endings.

I have noticed it in two recent productions,
"Chained" and "British Agent."

Here were two fine pictures, yet I know I
would remember them longer if in " British
Agent" Leslie Howard and Kay Francis had
died together as would have happened in real
life, and if in "Chained" Joan Crawford had
stayed chained and not given up at the last
minute.

These and other productions have failed to
reach top because of melodramatic, artificial
endings which you feel are not real.

Lennox Allen, Winter Park, Fla.

DIDN'T EVEN CHANGE THE TITLE!

My pet movie peeve recently is against pro-
ducers for their ruthless distortion of stories in
adapting books to the screen.

I salute, however, with a high hand RKO-
Radio for its splendid production from Mrs.
Wharton's charming book, "The Age of In-
nocence."

Its flawless photography, perfection of cast,
fine fidelity to custom and costume of the
period and the beautiful and accurate con-

tinuity of the text, places this movie in my
gallery of exquisite picture memories.

A. Watson, Oak Park, 111.

STUPENDOUS PANCAKE

I've discovered when a picture is advertised
as stupendous, colossal, dazzling, gigantic,
thrilling, it usually is very disappointing and
sometimes as flat as the proverbial pancake.

Why all the ado over so-called "big" pic-
tures?
Agnus McTague, Colorado Springs, Colo.

POET'S PRAISE

After seeing "The Barretts of Wimpole
St reel " one can rightly agree with Robert
Browning:

"God's in his heaven,

All's right with the world."
Well, the cinema world, anyway.

M. McKey, Dallas, Texas

NIOHTHOOD IS IN FLOWER

Surely a splendid production like "One
Night of Love," featuring Grace Moore, could
have had a more appropriate title. Not often
are we given a superb picture like this one.
But why the title?

I have seen seven pictures in recent months
with the word "night" in the titles! Dawn
(once a favorite word with title thinker-
uppers) has apparently faded into night. Why
not give dusk or evening a chance? Nice
words, too.

And also made for love.
Mrs. Mary R. Brooke, Hollywood, Calif.

A news article never appears concerning a
marriage, divorce, extravagance or scandal
about an actor or actress that someone doesn't
exclaim, "Those movie people! Isn't it ter-
rible?" And a barrage of unkind criticism fol-
lows.

We put them in glass houses so we can watch
their personal lives. Is it fair, then, to stand
off and throw stones?

Mrs A i ice ('. WOOD, Phoenix, Ariz.

CHILDISH AMERICANS?

Traveling about Australia I have often
heard the cry, "We're tired of American movie
nonsense. It's so childish. Why doesn't
America grow up?" And any intelligent per-
son can see this plea is justified!

America, look to your laurels! There are
Other countries making pictures now.

J. A. Glennon, South Australia.

DODGE JEM, HOLLYWOOD!

I'd like to know if the following "entertain-
ment" doesn't rate a wagonload of brickbats:

Two lugubrious comedies.

One pathetic imitation of a Walt Disney
cartoon.

A news reel with only one bright spot — a
passing shot of Will Rogers in Japan.

And "Chained," ill-starring Joan Crawford
and Clark Gable, who, of course, couldn't help
it if their vehicle had flat tires, a lungless motor
and no particular design.

Please tell Hecht and MacArthur to hurry
to the rescue!

Marie Brennan, St. Louis, Mo.

I am a farmer boy — the old-fashioned, gar-
den variety. I rise at 4:30 in the morning,
bring the cows from the pasture, milk them,
feed the horses, the pigs, the chickens, then
begin on the real day's work. If it's July, I
cut hay; if it's March, I make maple syrup.
Summer, winter, spring and fall — there's al-
ways something to be done.

But in the evening I drive dull care away.
Get my sweetheart and go into town to watch
a love story on the screen. Whoopie! I even
forget about the alarm clock!

Archie R. Albro, Marathon, N. Y.

NO SALE ON SHORTS

Why the sudden hue and cry against double
feature programs? I prefer two long features,
even if one is inferior, to a lot of unfunny
comedies, silly shorts, and news that often
isn't news.

Ruth King, Cranford, New Jersey.

Helen Mack comes in for a big
bouquet this month. Here she
is attending the preview of "The
Lemon Drop Kid." Her escort
is Charles Irwin, and he usually
goes where Helen goes, making
it a romance

Are children screen players just
a fad? One reader says so.
Baby Juanita Quigley and
Marilyn Knowlden, on the set
of "Imitation of Life," hope it
isn't true. They're having too
good a time

/?'

STEFFI DUN A listens to Regis Toomey cooing sweet nothings in a scene from
RKO's tale of the South Seas, "Kara." It's quite a change for Steffi from her
many-flounced Spanish costumes of "La Cucaracha," sensational Technicolor
short. The previous assignment for Regis was in Majestic's "She Had to Choose"

OYLVIA SIDNEY looks to be a very pensive little Indian girl. But actually,
'-'she is enjoying herself immensely. Because Sylvia, in between her own scenes,
likes nothing better than to sit on the sidelines and watch the work of the other
players. She wears this lavish tribal garb in Paramount^ "Behold My Wife"

Clarence Sinclair Bull

PATRICIAN ANN HARDING, cool and poised, as she appears in the M-G-M
picture, "Biography of a Bachelor Girl," in which she is co-starred with Bob
Montgomery. Ann, a tennis addict, was compelled by the doctor to give up her
racket during the filming of this production. It was sapping all of her vitality

By
Kathryn Dougherty

WHEN, several years ago, I saw Helen Hayes on the New York
stage in "What Every Woman Knows," I had a fleeting wish —
which soon vanished as hopeless — that I might some day see this dis-
tinguished little lady on the screen in the same role.

Therefore, I was more than delighted when, a few months ago, M-G-M an-
nounced that Miss Hayes was on her way to Hollywood to bring to life once more
the unmatchable Maggie of Barrie's creation.

Miss Hayes, who never once in her whole career failed to portray splendidly any
role she essayed, has, I believe, never surpassed, either on stage or screen, this latest
production.

You have probably seen "What Every Woman Knows." If you haven't, it is
likely there will be a later billing in your town. Everyone who has once seen it is
eager to see it again. You'll be sorry if you miss it.

IT pays to screen a good story. Walter Wanger, who produced the sensational
picture "The President Vanishes," estimates, it is said, that the studios' expendi-
ture for indifferent material runs far ahead of that for really good stories.

Mr. Wanger's estimate is that of $'-2, 500, 000 expended in five years for stories,
only one quarter of that sum has purchased real quality. The rest may be classified
as poor.

IN last month's Photoplay you read an article entitled "Let's Go To Tomorrow's
Movies," in which the prediction was made that, by 1940, the screening of
pictures by television in your home would be practicable. Now, M. H. Aylesworth,
President of the National Broadcasting Company, announces he believes this dream
will come true, and that we can enjoy in our easy chairs current news features,
instead of going to the theater to see them.

From this, it looks as though our news is going to be truly pictorial, and that
the newspapers of the future may have strong competition.

Incidentally, Mr. Aylesworth allows five years for the consummation of this idea.

THOSE stinging little gnats, the "quickies," are annoying the major studios. A
"quickie" manufacturer, you know, is usually an enterprisingfellow who manages
to get together enough cash to turn out a picture fast. He releases it through the
lower priced theaters and often makes a neat profit on each production.

The big, well-established studios see no reason why they should not have some
of this profit, too. Plans are being considered by them for this type of production.
The major studios certainly will turn out as good, probably better films than these

little competitors. And, as an added advantage, these "quickies" could serve as ;i
training school for many actors.

THE life of the late Lou Tellegen was really an epitome of a considerable period
of motion picture history. It was romantic, dramatic, tragic.

About 1915 he entered into a contract with Famous Players, and for the next
decade his star was in the ascendent. Tellegen was unique in the fact that he
was representative of every phase of the motion picture colony.

Fame suddenly flamed before him when Sarah Bernhardt gave him a leading role
in "Madame X" for her American tour. The stage was his by inheritance. His
mother was a Dutch dancer. At the age of eighteen, he appeared as Romeo, and in
Ibsen's "Ghosts."

After his appearance with Bernhardt, his career secure, he became a tremendous
matinee idol.

Jesse Lasky gathered about him celebrated names, and Tellegen was one of them.
His Broadway fame, through the medium of the screen, was reflected in every city
and village.

Tellegen became a symbol for Hollywood. His charming personality, his good
looks, his grace of manner, his appeal to women everywhere, his sensational mar-
riages and divorces established in the public's mind a conception of a Hollywood
that was really mythical.

No man could live at such a dazzling pace forever. When fortune turned, he
fought bravely to keep up a front. Only an incurable illness finally conquered him.
Though he could no longer stave off defeat, nevertheless, we must take off our hats
to him.

THERE'S going to be more real music in the air than we ever dreamed of.
Maybe the intelligence norm of the average person is low, as the abstruse
psychologists say, but there is one thing certain, good music fills the theaters.
"One Night of Love" has proved that.

Among other studios, Universal has caught the idea and Director Howard Hawks
will work into the next Margaret Sullavan production, "The Good Fairy," a com-
plete symphony.

Paramount 's "Enter Madame" has several operatic selections in it. Of course,
the initial big hit with classic music woven in was "Be Mine Tonight."

Welcome the movie all-year round opera season!

It'll be grand — but — will the men have to buy top hats and tails?

WHAT effect will the developed Technicolor process have on women's clot lies?
Off hand, I would say a lot, for it no longer takes an argument to prove that
the screen fashions our garments, manners and ways of living.

"La Cucaracha" gave us the first of the new colorful splendor. In "Becky
Sharp" and in "Peacock Feather" we shall see dazzling raiment surpassing even
King Solomon's famed lilies of the field. I wish to go on record as making this
forecast : Spring will witness the gayest adornment on ladies we have seen in many a
season.

EVEN Mickey Mouse is to have a new paint job. Walt Disney has decided that
the lovable little rodent is too anemic and is suffering in comparison with the
gorgeous "Silly Symphonies." You will soon be seeing Mickey Mouse with a pink
nose and a school girl complexion.

ttf as Tp itf as «b as «p as as as as as as its its as its its its its its its its its its as its its its cts its its its its its its to as co its as

Clarence Sinclair Bull

HERE'S proof that all opera stars aren't fat and all movie songsters aren't
crooners. For Nelson Eddy is tall and handsome, and a baritone. M-G-M
has lured him from the operatic and concert stage. His small but successful role in
"Student Tour" probably will be followed by the male lead in "Naughty Marietta"

Will Your Favorite
Star Survive Color?

EACHED heads must
go. No more platinums.

You
camera

can

new

JL_/No more artificial
blondes. No more heavy
make-up.

How many stars can survive
these edicts?

Yet, according to Robert
Edmond Jones, these rules must
govern the choosing of stars in
the future.

"Because," Jones says,
"color has come to the screen to stay. And you can't fool the
color camera! It catches the slightest artificiality, magnifying
it, making it ridiculous. Bleached hair which may be beautiful
on the shadow screen, in Technicolor looks like a straw wig."

Robert Edmond Jones, famous stage designer, designed the
sets and worked out the color composition for "La Cucaracha,"
the first motion picture to be made entirely by the new Techni-
color process. He is in Hollywood now working on "Becky
Sharp," an all-color full length feature which RKO-Radio is
producing.

The title role in " Becky Sharp" was, of course, a coveted one.
It would be the first full-length feature picture filmed by the new
process which photographs all the colors of the spectrum. It
would attract tremendous attention and comment.

However, when Robert Edmond Jones looked over a list of
all the eager applicants for the role, his answer to each name
was "no." Becky Sharp must be blonde. But she had to be
a natural blonde. The plum finally went to Miriam Hopkins,
whose golden hair has never been touched by a bleach. It
photographs beautifully, soft and silky, shining yellow.

fool the color

£01112*

eauty

By Mildred Mastin

Illustrated by Frank Dobias

Work begins on "Becky
Sharp," first all-color
full length picture.
Miriam Hopkins' natural
blonde hair won her the
coveted title role. On
the left, a scene from
"La Cucaracha," Tech-
nicolor short designed
by Robert Edmond Jones
so successfully that
RKO-Radio is willing to
stake a fortune on Mr.
Jones and "Becky"

" We all live in a world of color," says Jones. " It
is ridiculous to think that people do not want color
in their movies. People are now prejudiced against
color pictures because they have seen bad ones, made
by the old, imperfect process. When they are shown
movies in which the color has been brought to the
screen truly and naturally, they won't be satisfied
with black and white pictures any more."

And whether you agree with Jones or not, you are
compelled to remember back, seven years ago, when
sound came to the screen, and movie-goers resented
the imperfect recordings, the cracked voices. They
said it was just a fad, that silent pictures would re-
main, that the talkies would never be ac-
cepted.

However, sound advanced

swiftly, and the public's

early prejudices

against it were

soon swept

away by the

■^

"^"^••*j^><j^^

Robert Edmond Jones,
famous stage designer,
is in Hollywood be-
cause he believes all
movies soon will be
made in color

I \

rapid improvements in
talkies.

Technicolor, on the other
hand, has been building up a
wall of disfavor for twenty
years. The first Technicolor
picture was made in 1914,
and it was not till recently
that any major improvement
in the process was made.

Except for Disney's colored
symphonies, "LaCucaracha"
is the only picture released so
far that has been entirely
made by the new process.
Pictures made by the oldproc-
ess you did not like. They
looked highly artificial, and
the colors were not true.
There were several reasons
for this. In the first place,
the old color camera could
not photograph blue. Of the
primary colors it "saw" only
yellow and red. Since blue is
one of the three primary col-
ors, it was impossible to get a
true color picture of any shot
with the old Technicolor
cameras. Even white did not

[ PLEASE TURN TO PAGE 104 ]

Margaret Sullavan

WITHIN two days
after she finishes
her present pic-
ture, "The Good
Fairy," Margaret Sullavan
intends to be married. The
picture should be finished be-
fore you read this and, con-
sequently, Margaret should
be on her honeymoon.

When she told me of this impending matrimony, across a
luncheon table at Universal studios, I searched her gray Irish
eyes for a betraying twinkle. Because Margaret Sullavan is
quite likely to say anything that comes into her mind — any-
thing at all— just to test your credulity. She had just told me
that she intended some day to have fifteen children — which she
did not mean, of course. When she said that, her eyes had
smiled.

But this time they were steady.

She meant it.

That's all she said — all she would say. To the natural ques-
tions of who her intended is, what he does, where he lives, or
what he looks like, she presented a very effective silence. No
one may ever know until the wedding bells.

And when she does marry, very possibly, Margaret Sullavan
— Hollywood's unhappiest actress, movie star against her will,
and the girl whom Hollywood has never understood — will be
able to slip out of the screen picture, and one of the most amaz-
ing chapters in Hollywood's ever-astounding history will come
to a close. And as I first said— all this may already be over and
done with. Margaret Sullavan may be married— now! Who

Perhaps marriage may be the
happy exchange she seeks for
fame, fortune and Hollywood

By Kirtley Basket te

can accurately predict for
Hollywood?

Marriage may aid Marga-
ret in what it is very evident
she is seeking. An escape
from a screen career.

Incredible as it sounds, it's,
true. The twenty-three year
old girl, blessed with striking
talent, gifted by the dramatic
gods as few are gifted, who was the major motion picture sen-
sation of last year, who, in the short space of two pictures, has
been soundly entrenched in popular adoration along with
Katharine Hepburn, Joan Crawford, Norma Shearer — yes —
and Greta Garbo; the girl who stepped from seven straight
stage "flops" to a world wide cinema sensation, who is making
more money now than she ever made in her life, who can look
forward to rapidly pyramiding fame and mounting wealth, who
stands on the threshold of a future so rose-hued as to be beyond
the wildest dreams of an ordinary mortal, wants none of it.
None of it!

Neither the fame, the money nor that kind of a future it
offers— not at the price she is paying for it. Which is unhappi-
ness, deathly unhappiness, mental depression and nervous
torture.

This sounds strange. It sounds fantastic. It would be just
that with anyone else but Margaret Sullavan. It would be so
fantastic as to reek of a publicity act. And Margaret has been
accused of that, many times, ever since she first revealed by
her singular, individual reactions — which seemed mad caprices
— that the business of making pictures tore her to pieces.

When you see Margaret Sullavan in "The Good Fairy," take a long, lingering look. For nobody knows at
what moment this girl who hates Hollywood will walk out of movies, never to return

Wants None Of It!

But it's no act — it's an actuality, which time has
made more and more insistent, more and more evi-
dent. I rather imagine she herself wondered about it
for a while, whether or not she was sincere in her dis-
like of making pictures. I know, however, that time
has convinced her that being a motion picture star
presents a hopeless ordeal — that somehow Fate ironi-
cally picked the wrong person to thrust into a spot-
lighted spot in which somehow she cannot bear to
remain.

I remember talking to her when she first came out
from " Dinner At Eight " on Broadway to make "Only
Yesterday." She was firmly convinced then that she
was completely unequipped for the screen. John M.
Stahl, the director who from his seat in a theater audi-
ence had picked her for the part he had searched all
over the world to fill, had to plead and coax her to
come to Hollywood, to fame, fortune and future.

SHE didn't want to. She had never heard of John
Stahl, she wasn't interested in any part of a Holly-
wood career. She finally weakened, not from the de-
sire of becoming a screen star, not with the faintest
idea of ever possibly becoming a screen star. She
weakened because she had played a series of unsuc-
cessful Broadway shows — and here was a successful,
guaranteed engagement.

"I'm a mess for movies," she believed then, after a
few days on the set of "Only Yesterday." "I'm not
even half-way beautiful. I don't know anything
about making pictures. As soon as this is through,
I'm going back to New York." Which she did; in
fact, she started to leave a time or two before the
picture was finished.

Her interrupted flights, her sincere protests, her
storied rebellions, her eccentric actions were not tem-
perament. They were inspired by a sudden and over-
powering realization that [ please turn to page 108 ]

Margaret Sullavan sincerely believes that she is not beauti-
ful and that she cannot act. However, one can't agree with
her after a glance at the portrait on the left and seeing her
fine portrayal of the orphan girl in her latest picture, "The
Good Fairy"

Robert

Montgomery

C\»'

.b\e

-po*

ett

Could You Love, Honor

E S
and sweet-
hearts,
please

give heed! I have
something very ex-
citing and also very
personal to ask. you.
Would you exchange
your husband or your
sweetheart for one of the
famousloversofthescreen?
Would you, if you had the
chance, exchange your John
for John Boles? Or your Bill
for Bill Powell? Or your Bob for
Bob Montgomery?

Could you and would you love,
honor and obey — obey, mind you — ■
Clark Gable, Gary Cooper, Herbert Mar-
shall, Ronald Colman, George Brent, Leslie
Howard, Robert Montgomery, William
Powell, Franchot Tone, Warner Baxter,
John Boles, or Fredric March if you had
the chance?

Isn't that something to think about?
Can't you see yourself bustling briskly
about the home of some noted screen star,
supervising the meals, sewing on buttons,
placing away, in neat little stacks, piles of
socks and handkerchiefs, or telephoning
the shops that Mrs. Colman or Mrs.
Gable was speaking and how about a nice
tender chicken for Mr. Colman's or Mr.
Gable's dinner?

Stop, my quivering heart!

Would you gladly and willingly' lay
aside your comfortable existence and the
comfortable understanding that exists
between you and your best beau for the
hectic existence as the wife of a famous

Herbert
Marshall

screen lover, with its overwhelming need for tactfulness

at all times and under all circumstances (no matter about

your personal feelings) and its demands on your time?

Demanding that you go places and do things when y-ou

don't want to?

But wouldn't the sound of an awe-stricken voice

whispering, "There goes Clark Gable's wife," make

up for all the lost comfort? What do you say, girls?

Could you really love, honor and obey one of these"

fascinating men?

But wait. Before you decide. Let's contemplate a
bit more on the Mrs. Colman idea. On the screen,
Colman is pretty much considered the remote and
unattainable lover. Generally, he has a
reputation for being the same off. But
certain delightful English women in
Hollywood (sorry, but he does prefer
them a wee bit English) will tell you, in
strict secrecy, that he is the most gay
and charming companion imaginable.
That he rather likes the English idea
of superiority of the male. The
Americans like it too, poor sweet
lambs, but they don't know how
to get it. But Ronnie does,
make no mistake. In fact, he
prefers very feminine women
— but they must play tennis.
So for marital bliss with
Ronnie you'd have to brush
up on your backhand stroke,
be sure to speak the King's
English and serve scones at
tea — and by all means, wear
blue — any shade of blue, but
give the preference to navy.
It's his favorite color. And
cheerio, here's the best news
yet, unless you're a giddy
fly-by-night. He likes com-
fort and a glowing fireside.

Geot&e

■garnet
Baxter

arid Obey These Men?

The Big Twelve, who rouse more
thrills, perhaps, than all the
other male stars in Hollywood

By Arline Merlon

Close your eyes for a moment, girls, and dream dreams.

Rain dropping gently on the roof. Dripping from long, weary

tree branches outside the window. Inside, a warm glowing

fire. Across, in a deep, comfortable chair, Ronald

Colman. The man you had promised to love,

honor and obev. Could you take it, girls? J°.

. Boles

Or maybe you'd attached that fireside dream to

Gary Cooper with his long legs stretched out from

the easiest chair. Well, forget that dream, for

you couldn't keep Gary in a chair very long

He'd have to tear outdoors for some plain

and fancy riding or a bit of camping out

or even rounding up. And how would

you be on a round-up?

On the screen and off the screen,
Gary is about the same, I'm told.
The strong, silent type who loves one
woman to the exclusion of all others.
Could you love, honor and obey
Gary Cooper for as long as you live?

Then there's the irrepressible Bob
Montgomery. Just how would you
like to be Mrs. Montgomery while
you're at it? Sharing always and
forever in that little bad boy grin
and those bad boy pranks? For ex-
ample, supposing you were giving a
party and some Mrs. Prim-and-
Proper wanted to use the telephone,
and the telephone, heaven help us all,
suddenly shot forth a stream of water

Gary
Cooper

in Mrs. Prim-
and-Proper's
eye just as
Bob had i n -
tendeditshould?
What, oh what,
would you do
then, Mrs.
"Wanted-to-be"
Montgomery?
For Bob will do
those things. He
will have people sit-
ting down on cream
puffs or grab up some-
one, more than likely
you, and off you'd go to
the beach for a day of
kewpie-dolling and merry-go-
rounding.
And then he'd look at you with
that mischievous but guilty little
smile and — well, here's where you make
your choice. Would you say, "No, I
couldn't take a lifetime of loving or
obeying him. I couldn't." Or would
you say, with your heart bursting
with love and joy, "Bob, you imp,
I — I just love you so much; I'm glad
you're mine to honor and to keep."
Oh dear, we haven't even touched
on Herbert Marshall or Fredric
March or John Boles, and here we
are all dewy-eyed and everything
with our dreams brought so com-
pletely into the open.
' Smooth and gentle Englishman
that Herbert Marshall is, if he loved
you, he would go through the bad-
place and high water for you. But
he would expect the same in return,

remember. Xo half way measures. No hesitating. No glanc-
ing back. You'd love, honor and obey him completely and
wholly or you wouldn't qualify, that's all. A bit frightening,
isn't it, and would you take the step? Search deep down in
your heart and discover for yourself whether your feelings for
this handsome Englishman are only the dreams of an emotional
woman or — if the chance ever came your way — would you
plunge? Deeply and forever into the life of this man? Honor-
ing and obeying, world without end?

Then there's George Brent. Any number of willing girls
would enjoy George around the house, especially since he no
longer belongs to Ruth Chatterton. George is footloose and
fancy free — one of the few eligibles among all the lads we
dream about. Let's imagine — and wish
— Well, there's no law against
wishing, is there?

Of course, right now you'd
run into some pretty stiff com-
petition in one Miss Garbo,
for Greta has been George's
one enduring romance since
his divorce. But just sup-
posing, in some magical
manner, you managed to
outshine Garbo as far as
Mr. Brent was concerned
and George became the
man you had given your
promise to love and honor.
The first thing you'd have to
do would be to make up your
mind to give him lots of free-
dom. If there was to be a dic-
tator in the house — better let
George be it! He objects to
having his life managed and pos-
sessed and he would be one man
from whom you could not demand
explanations. Plenty of casual in-
difference would win George over all
the concentrated attention you could
shower on him. So if you're not the in-
different type, think it over carefully.

Being Mrs. Fredric March, however, would
mean being a dozen wives all in one. For there's
Freddie March, the actor; Freddie, the little boy;
and just plain Freddie, the eternal male, who
knows that the girls are looking at him out of the
corners of their eyes. But just imagine having that
March profile to look at mornings and nights. Im-
agine listening to that fascinating half-break in the
famous March voice. Imagine the exciting Freddie
March saying, "Darling, 1 love you," and meaning YOU!

Then there's the serious-minded Warner Baxter.
Cautious, constantly looking ahead with anxious eyes into
the future. You'd have to be ready with plenty of under-
standing and encouragement if Warner were your choice.

In return you could expect sympathy and tenderness, es-
pecially if you were ill, for Warner has an unlimited capacity
for helping those who need help. Perhaps not as alluringly
spectacular as some of the other screen lovers, yet the very
handsome Warner Baxter is certainly one to consider if you're
in that "1 do" mood.

A XD while we're still able to go on, let's consider the problem
■» **of loving, honoring and even obeying John Boies. And
fancy anyone not wanting to love, honor and obey the hand-
some John. For not only is John every girl's idea of a Prince
Charming, but girls, it would be all right to bring on mother
for a visit so far as John is concerned. No, honest, I mean it,
John will even charm his mother-in-law, for the same grand
charm he shows on the screen, he showers off screen, on young
and old alike. A little kiss on the brow, a little press of the
hand to thrill an older woman into a stateof complete happiness.

Leslie
Howard

"You do look handsome in that outfit," I once heard John's
mother-in-law say to him. "Why, thank you, darling," he
answered, as pleased and delighted as if some glamorous creat-
ure of the screen had passed the compliment.

Mrs. John Boles!!!! How does it sound?

WE now pause for long, drawn-out sighs.
Or is the suave Bill Powell your preference? If it's
poise and wit and social sense you value in a man, Bill is
elected. But study up on your answers, because Bill likes the girl
who knows them. He is always gay and amusing — he likes
gay companions. You would have to like dogs or Bill wouldn't
do for you at all — he's crazy about 'em. And his favorite
costume (honest) is a pair of bathing trunks. He has a
crazy kind of fantastic humor, and it requires a rather
worldly sophisticated woman to really appreciate
him. You naive little girls should fall for some-
body else — you wouldn't be happy with Bill.
And, too, Bill goes in for new fangled electric
things. Buttons that open gates or fling down
beds in the most awful places. Like the one in the
projection room, for instance. And remember,
Bill likes his women plenty colorful, gay and
smartly turned out. Look at Lombard. Look
at Harlow. And look at Bill. Could you take
him forever and ever?

But Leslie Howard — well, in spite of his ex-
tremely cultured air of rather tired sophistication,
Leslie has a very tender and understanding side.
An eye for the beautiful ladies, Leslie has. So
unless you have the understanding of
ten women, you'd curl up and die of
jealousy in no time. But if Leslie
is your ideal, make no final de-
cision until you have seen him
in a polo outfit. Then you can
judge the triumph of mind
over matter.

Now for you girls who like
to feel the latent caveman in
your ideal lover — Clark
Gable is made to order. He
is the perfect Male Trium-
phant, whose word would be
law, and who would give the
impression of plenty of force
available — if necessary. Some
of us enjoy thinking that he
could even be cold — that he
could leave without a word or
a backward look, if he were
displeased. He is the dominat-
ing type, whose word would be
law. But the Right Woman always
knows she could appeal to the little-
boy side of his nature.
For instance, if Clark grew too domi-
nant for any good, you could run right
out and buy him a new gun. Not to shoot
you with, my dear, but to distract his atten-
tion. Clark, you know, is the big outdoor type and even if
you were left alone by the telephone for weeks on end while
Clark went gunning for wild animals, could you or would you
give all your love and life to honor and obey him?

You could be sure of one thing in Franchot Tone. And that's
faithfulness. But just supposing you could pry Franchot
away from Joan Crawford — and I'd like to see the team of
elephants that could do it — would Franchot be that dream
Prince in your life? Have you ever wondered just what ro-
mance, love and marriage with Franchot would be like?

For one thing, you dreamers, you'd have to know a lot about
books, art and culture. And you'd have to be careful about
putting forth that old positive personality of yours. Franchot
is a gentle man, who wants to [ please turn to page 121 ]

Franchot
Tone

At Last The Films
Round Up Joe

FOR eight years, Joe Morrison did some planning, and it
must have been good, because it landed him right where
he wanted to be — in the movies. And, Joe says, he's
doing right well, thank you.

In the course of that eight years, Joe decided he might as
well do something about his voice. It's been described by rapt
admirers as "golden honey." So, he tried it out with "The
Last Round-Up." You could cut the silence — but it wasn't the
silence of close attention, it was that cold silence of disapproval.
Well, Joe put that song right back on the shelf — until three
months later. Stuck for a song, he dragged it out and dusted
it off. He was soloist with George Olsen's orchestra at the time.
Anyhow, Joe sang the plaintive plains song. The dancers
stopped in their gliding and listened. Joe finished and they
mobbed him — demanding more. They made him sing it until
he was hoarse. Overnight, he became a sensation. Not so long
after, he was in New York and Adolph Zukor heard him.

P. S. Joe got a Paramount contract.

But, that sounds easy. Far from that. Previously, Joe got
a job as tenor in a vaudeville quartet, and headed toward
Hollywood. There he spent a desperate year trying to crash
the golden gates. But no go. The studio scouts and executives
didn't even give him a tumble for his work in "Nine O'Clock
Revue," and he was in that in Hollywood for eight months!

But, that's all water under the bridge. Joe is now right where
he wants to be, and he's coming along — fast. You last saw him
in "The Old-Fashioned Way," and now, "Me Without You."
And he has at least two more pictures ahead of him.

He's only twenty-seven, and not married — not even "in
danger," he says. But, there is one thing certain, should he
marry, the little girl will just have to live in Hollywood. Joe is
not only sold on the movies, but on the town, too.

Tha-a-ank You-hoo,
Maxine Doyle

MAXIXE DOYLE is one little girl who went back
home and made out better. That sounds funny, but
Maxine was doing right nicely with a job as Master
of Ceremonies in a Washington, D. C, theater. She
decided she'd rattle out to Hollywood and give it a look-over.
She bought herself an old car and went. Now California is
Maxine's home grounds, so she knew just where she was going.
Also, Hollywood itself was no novelty to her, in that many of
the stars had been under her eye in their Washington personal
appearances.

So, you have Miss Doyle in Hollywood, and Hollywood took
one look at the five-foot-two, eyes-of-blue Maxine, and then
and there the Master of Ceremonies business was history for
Maxine. She was a novelty, and Warner Brothers was not
passing up such a delightful one.

The net result was a contract and a part in a stage produc-
tion of "Take a Chance," with Olsen and Johnson, two delight-
ful people to take a chance with. Maxine was a hit from the
opening curtain. So much so, that M-G-M promptly borrowed
her for " Student Tour." Then she hopped on her little bicycle
and pedalled around with Joe E. Brown in "6 Day Bike
Rider." Soon you'll see her in " Babbitt."

"How'd you do it? " she was asked.

"Why, I didn't do a thing!" she said. "I just smiled and
took any old thing they gave me. I never asked nor demanded,
and I think my meekness just broke them down."

And now, here's a deep, dark secret on how Maxine started
the road up. It was when she was Master of Ceremonies. The
first night, when she said " Thank you" to the audience, she was
so scared, her voice broke and the "you" went way up to the
roof. It was a howl! And she had to do it all the time there-
after. The good people just ate it up.

Making A Mans

" ~]k JTAYBE," said Director Henry Hathaway, with just

|\ /I a tinge of irony in his voice, "we had better call this

J[_ y 1 picture 'Wives of a Bengal Lancer'!"

And tearing into shreds a sign reading, "No
Women Allowed," which he had just jerked down from a tree
trunk, he resigned himself to the gloom of his thoughts.

You see, the reason for Director Hathaway's inward struggle
was the fact that the dust from Gary Cooper's retreating car
was still sifting up his nostrils. And the reason that Gary
Cooper's car was bedusting the serene
shores of Malibu Lake was that Gary was
deserting camp in a hurry to meet his
wife, Sandra Shaw Cooper —

And all this was very much against the
rules.

The setting for this bit of dramatics is
the greatest excursion of modern movie
times — Paramount's rugged (and partly
ragged) expedition of some four hundred
masculine souls into the wilds to make
"Lives of a Bengal Lancer." You prob-
ably read the book by Francis Yeats-
Brown, and if you did you'll know that
it's pretty exclusively a male affair. No
women. Well — there is to be one in the
movie — Kathleen Burke — but she'll step
in and out inside of two hundred feet of
film.

Incidentally, this is not the only picture
planned or in the making, in which the
males are an overwhelming majority. On
the M-G-M list, there's " Mutiny on the
Bounty," also with a lone woman. Fox is
going in strong for masculinity. "Hell in
the Heavens" is a one-woman film, she
being Conchita Montenegro ; " East River"
has just two, Marjorie Rambeau and Grace
Bradley, and in the same studio's " Lottery
Lover," three-fourths of the cast are men.
It's something for the ladies of Hollywood
to worry about!

Hathaway was to have with him four
hundred hairy-chested gentlemen, includ-
ing some hundred and fifty Hindu olive

pickers from the Napa Valley, a troop of a hundred mustang-
bitten cowboys (made up as lancers), and such two-fisted fel-
lows as Gary Cooper, Franchot Tone, Sir Guy Standing, C.
Aubrey Smith, Monte Blue, Richard Cromwell, Douglas Dum-
brille and Colin Tapley. There also were to be a host of dare-
devil war veterans from all over the world, including Russian
generals, Cossack cavalry commanders, Australian light-horse
officers, and even a former member of Pershing's staff. So, with
these stiff-whiskered gentlemen filling the woods, Director

■*****WNifc;

Sir Guy Standing, Gary Cooper, and Franchot Tone were all lured away

from location by undaunted ladies. Director Hathaway posted a sign,

"No Women Allowed," but Gary's wife crashed into the camp

Hathaway decided that members of the
weaker sex would seem a bit out of place
on this particular expedition. Oh, there'd
be a production staff member or two, but
those business-like girls wouldn't interfere
with plans. So he determined to make the
whole affair a he-man's holiday. Hence the
sign—

"No Women Allowed."

It was the very next day after the mon-
astic edict that up to the forbidden spot

Picture

The ''Bengal Lancers" direc-
tor hid his masculine cast
in the mountain wilderness,
but women still pursued them

By Kirtley Baskette

Four hundred hardy men invaded the wilderness around Mount Whitney, to
make the exciting Khyber Pass sequences of "Lives of a Bengal Lancer" for Para-
mount. Among them were many cowboys, war veterans, and Hindus

boiled Sandra Shaw Cooper in her roadster and registered at
the nearby Malibu lodge. Immediately she dispatched a mes-
senger to the forbidden precincts with a note. And whatever
she wrote, her words had more authority for Gary than military
orders.

Gary said he thought he should go over to the lodge, but
Director Hathaway said he wanted the entire company to stay

Watch out for your head ! Monte Blue,
made up as Hamzulla Khan, means
business! Director Hathaway should
have assigned Monte to the job of
scaring the girls away with his sword

in camp. So Gary discovered a rattle-
snake in his tent, and found it entirely
necessary to move at once to the lodge,
where his health would be beyond danger.
Hence Mr. Hathaway's full measure of
chagrin.

Of course, it had been in the course of
evolution for several days — this chagrin.
And not all because of Gary. Why, the
very day before, a beguiling honk had
penetrated the sanctity of the camp, and
that perennial charmer, Sir Guy Standing,
laden with flies, and rods and reels, had
bundled hurriedly but withal furtively
out of his tent. Down to the road he went ,
and was seen to greet a mysterious bru-
nette. She was in a roadster, and away
they whirled, to the boat-landing. While
the perturbed Mr. Hathaway spied upon
them, Sir Guy fished and the mysterious
lady of the lake rowed the boat or netted
the trout he caught.

Too, a series of long distance messages
from Joan Crawford, calling Franchot
Tone away from his womanless surround-
ings at odd times during the day, had
further proved the resolve of the feminine
invasion which threatened the "Lancers."
Women, women, women! How could
you ever get away from them and make
a man's picture?

"Never mind," Hathaway now mut-
tered into his beard, as Gary's big motor
rumbled off Sandra-wards in the distance,
"wait'll I get 'em at Lone Pine."

Because the whole "Lancer" company,
after completing the two weeks' term at
Malibu Lake, only forty-five miles from
Hollywood, and therefore within convenient feminine seige
distance, was due to pack into the bare and rocky slopes of
Mount Whitney — three hundred miles from anywhere, to film
the Khyber Pass excitement of the picture.

Getting into the location at Lone Pine, Mr. Hathaway
reflected with satisfaction, would be something of a feat for a
lady who had no business with [ PLEASE TURN TO pale 88 ]

Romance With

Many times she seemed
way out of reach, but
persistent Rafe Forbes
at last touched heaven

By Jerry Lane

RECIPE for romance: A tennis court inspiration-
ally located between a rose-covered tea house and
a dahlia garden.
A balmy afternoon.
One very handsome, very blond young man.
One slip of a girl with hair like buffed ebony, an ador-
ably piquant face — and the meanest serve in Hollywood.

"I didn't know an Angel could play a game like you
do!" Ralph Forbes lunged for a well placed low one,
returned it, missed her answering shot.

"Forty, love," sang out someone from the sidelines.

"Love?" echoed Mr. Forbes, reaching for a high ball.

"Love!" chanted Cupid, swinging on the net.

Actually, when Heather Angel was married in Yuma, she

had on a borrowed frock. But she wears this gorgeous

creation in "Romance in the Rain"

They'd met a bare half hour before. H. M. Howard,
writer extraordinary and "Tottie" to his friends, had
done the trick. And Heather Angel had smiled, a very
secret little smile, as Rafe lingered over her hand. She
couldn't very well explain what she was thinking. But
in her mind's eye she was back in India, escaping from the
broiling sun into a small, rattan-roofed theater, seeing a
picture years old — "Beau Geste."

"That young one, that Forbes, he seems so familiar,"
she remarked to her friend, a member of the same
repertory company in which Heather was touring the
Orient. " Do you suppose I could have met him any-
where in London? He's obviously from England, too."

And then in Colombo, another cinema with Forbes a
Scotch nobleman this time. In Sarat, he was a dashing
army officer up there on the screen. In Calcutta they
saw him as a spy. In Hong-Kong he was Betty Comp-
son's lover.

"Is there any other actor in America?" Heather de-
manded. "Every time we go to a motion picture, there
he is! . . . And I still can't place where I met him."

BUT they'd never met. Not until that afternoon on
Howard's tennis court. A haunting memory of some-
thing never lived, half remembered scenes from an un-
known past. Where do they come from?

This, however, was real enough! Rafe Forbes was
asking for her telephone number in the customary
fashion of young men the world over. There was but one
slight hitch. He wrote it down wrong! The very next
morning he dialed the number. A cool, impersonal voice
slid over the wires to him, " Sloot and Sloot, plumbers.
No sir, there's no angel here. This is a plumbing shop."

It all happened so
suddenly, when they
were married, that
Rafe didn't have
time to make an of-
ficial proposal!

"Hang!" said
Mr. Forbes. ' No use
trying to wheedle it out
of the operator. The
private numbers of pic-
ture people are guarded more zeal-
ously than the crown jewels. He tried
1 toward. Mr. Howard, his secretary informed
Rafe, had been called out of town unexpectedly.
Xot fifteen minutes later, Howard's secretary was informing a
Miss Angel that yes, she thought she could get Mr. Forbes'
telephone number. Just a minute please. It's . . . here it is,
Oxford 3216.

But — here it
wasn't! Heather
had no way of knowing
that the secretary had in-
advertently read "6" instead
" of " 7." She was sure of just one
thing. Never would she ring Ralph
Forbes again. Not as long as she lived. That
furious woman who had answered the call. Brrr!
It left her petrified. He wouldn't be invited to this cocktail
party — nor to any other she gave!

And that's the way matters stood for four months.

[ PLEASE TURN TO PACK 102 ]

Mr. Broadway Gambles
Against Hollywood

URE I'm worried

about this movie.

I've been worried for

sixty-three years.
You say I don't look sixty-
three? What? Forty-five?
Lady, if I were forty-five, I'd
jump up and swing from
that chandelier. And then
I wouldn't have to earn a
living by playing in a movie.
And then, maybe, I wouldn't be worried!"
It was George M. Cohan speaking. The
movie he was worried about was "Gam-
bling." He had written the play himself
some years ago. He had played in it on
Broadway, and it is numbered among his
successes. And now, out at the Astoria,
Long Island studio, he was making it into
a motion picture.

Most people thought that Cohan would
never try to make another movie. His
Hollywood talkie experience, just two years
ago, was brief and unhappy. It started

George M. Cohan has his chips
on the table — and one on his
shoulder. He'll make movies in
New York, but out West

By Anne Castle

when he was lured to the
Coast to appear in "The
Phantom President." And
it ended the minute the pic-
ture was finished.

" I wouldn't have gone
back into pictures — in
Hollywood," Cohan says
bitterly. "I didn't like the
folks out there; they didn't
like me. But making this
movie here in the East, that's differ-
ent. For one thing, it's my own play;
I wrote it. 'The Phantom President'
was written by twelve hundred other
people. Oh, it must have been at least
twelve hundred, for there was a new
author brought in every minute!

"Another thing. I'm making this
picture for a boy I've known all my
life — Harold Franklin. That makes a
difference."

But if you know Cohan, you realize
that his dislike for Hollywood is based
on something far more human and
fundamental than the fact that on the
Coast he didn't know the pro-
ducer, and that the script
had too many authors.
And even Hollywood
must admit that
George M. Cohan
was treated
strangely.

In the first place,
Cohan went to
Hollywood with
the understanding
that he was to help
write the script.
But among the
alleged twelve
hundred authors,
Cohan was not
numbered. It was
almost as if Holly-
wood forgot , or
didn't .know, that
George M. Cohan

[ PLEASE TURN TO
PAGE 114 1

Cohan didn't like
Hollywood and says
Hollywood did not
like him. But if
"Gambling" proves
a success, he may
make more pictures
in the East

Longworth

MEET the general ! Ruby Keeler looks so fetching in that uniform, we'd even
smile if she ordered a court martial ! Wearing gold braid and epaulets, Ruby
is commanding attention now in Warner Brothers' musical, "Flirtation Walk."
Yes, Dick Powell wears a uniform, too. But it's Ruby Keeler who gives the orders

'in-'' 1 ?E$P.

'tB3

HIS

* 1 1 H^HPiV

nBBBBBBVJJHH

Hurrell

RALPH BELLAMY in a striking studio pose. Ralph is soon to be seen in
Fox's "Helldorado." He recently returned, you know, from a trip to Eng'
land. And, lo and behold, he brought back seven lamp-posts. But, 'sail right.
They were relics from the historic Waterloo Bridge, which has been torn down

Otto Dyac

T)EGGY FEARS, who acted and produced plays on Broadway, shows one of the
A gowns and a gorgeous hat she wears in Fox's "Lottery Lover." This is her
debut as a screen player, and, under the terms of her contract, we may hear from
Miss Fears as a writer and director. And a striking looking woman she is, too

BEHIND this innocent exterior is dynamite! "Spanky" McFarland doesn't
keep all his devilment for his picture scenes. In the filming of his latest, RKO'
Radio's "Kentucky Kernels," he had Wheeler and Woolsey in a constant state of
dithers — chairs whisked from under them, trip lines everywhere. Nice "Spanky" !

Kitty Crashes

Mr. Opportunity
had to rap hard
and loud before
Miss Carlisle
listened to his
Hollywood offer

By Julius Irwin

NO, I won't sign the
I've seen my test."
"But why?" pi

e contract, until

protested the per-
plexed Paramount executive engaged
in signing up practically unknown Kitty Carlisle
for a movie career. "It's our gamble — not yours. "

"I might be terrible, and I'd feel like such a
fool!" was the explanation that didn't explain a
thing.

It's just such unorthodox, upside down things
about this amazing and amusing Carlisle person
of New Orleans, Paris, Rome, London, New York
and points cosmopolitan which have just about
convinced Hollywood that Kitty is one of the most
interesting, completely captivating and unusually
destined things that has happened to it for a long,
long time.

For one thing, it's hardly cricket for a girl to
be in Hollywood only six months and, with no
particular stage prestige, to leap right up to
co-stardom with that secret passion of the
nation's femininity, Bing Crosby. Kitty
shares the headlines in the picture she has
just finished, "Here Is My Heart."

Then again, for a girl who has to make
something of herself to click profession-
ally is admirable, but understandable;
powever, for a girl like Kitty, who
was cradled on a velvet cushion,
tutored by royalty, polished
and finished abroad, introduced
nto Continental society, and
tossed about in the soft lap of
uxury to suddenly say, "Oh,
•ats, I'm tired of being worth-
ess. I'll just have myself
i career—" and get it-
veil, it's like the Holly-
vood climate — unusual.

Of course, to most of
is the career of Kitty,
vhose name rhymes
luite nicely with
'ditty," starts with a

tune which perhaps you have heard once or

twice, called "Love in Bloom" (and if you

haven't heard it, you'd better drag out

your ear trumpet because you're going

stone deaf as sure as the world — it fills the

air these days). Which is to say, that

Kitty Carlisle first made the general public

sit erect and focus attention when she did the hitherto unheard

of; namely, splitting singing honors with Bing Crosby in "She

Loves Me Not."

Naturally that wasn't the first time she had ever
tried out her voice, nor the first time she had put
on greasepaint. In fact, the strange business
noted above of an unknown girl's refusing to
autograph a movie contract which she
really did want very badly, took place in
the artistic setting of Westport, Con-
necticut, where Kitty, having success-
fully completed her first professional
engagement, a tour with a condensed
company of "Rio Rita," was busily en-
gaged in trying out the musical " Cham-
pagne Sec," an American adaptation of
Johann Strauss' operetta "Die Fleder-
maus" (the flying mouse; i.e., bat). Al-
though just what champagne has to do
with bats and flying mice is a little
vague. Maybe you see them after you
drink it. Kitty wasn't sure. Anyway,
she played the part of "Prince Orlof-
sky" and they say she was really
something in tights.
Possibly the Paramount talent
scout was attracted clear down
to Westport by the tights or
the tasty, tangy title of the
show, but finding Kitty twice

[ PLEASE TURN TO PAGE 118]

Kitty soared to the top
and is comfortably set-
tled there for a nice
long stay. In her
third movie she's
co-starred with
Bing Crosby

Fun Like Mad!

DEAR JOAN:
H'ar yuh? I'm very chipper
myself. Thought I'd be head-
ing for the Old Maid's home,
didn't I, in my last letter? Well, t'aint
so. Louise Fazenda's multiple birth-
day soiree, the opening of Reinhardt's
" Midsummer Night's Dream," Nelson
Eddy's cocktail gathering, Colonel Van
Dyke's party — to say nothing of the
elegant wedding in the DeMille family,
a coupla twirls at the gay Trocadero,

and several wildly expensive luncheons — have left me feeling
anything but old-maidish. In fact, I'm utterly limp from so
much festivity. Deah, deah, such popularity!

I know that nothing but minute details will satisfy your avid
curiosity, Joanie, so I shall relate everything that I've saw and
did all this past month. I won't leave out a single word.

Let's start on a nice, dignified note. Shall we? The DeMille
wedding. The great C. B.
was his son's best man,
and I might mention that
Noah Beery, Jr., Gwynne
Pickford (Mary's niece)
and Katherine DeMille
were among the entourage.
It was a beautiful cere-
mony, with exquisite music
that just thrilled me to the
marrow. Weddings al-
ways make me sentimen-
tal, anyway, and here I
was longing for a nice,
handsome fellow to lead
me to the altar. How-
ever!

Well, the bridesmaids
looked heavenly in light
bluegownswithtrains,long
sleeves and large swash-
buckling hats to match,
and leis of flowers around
their necks. They carried
small blue velvet Bibles.
Then came the bride. Ah,
the bride ! She was Louise
Denker, a society bud, and
the niece of that big bank-
ing mogul, A. P. Giannini.
Everyone in that beau-
tifully dressed congrega-
tion craned necks and
then gasped. Louise, like
her bridesmaids, was com-
pletely in blue. Her fif-
teen-foot tulle train was a
mass of blue foam. There
was a rosary of amethysts
twined in her fingers, and
she carried a prayer book,
and a long, silver-twined
sheath of powder-blue
water-lilies. I've never
seen so exquisite a bride.
In fact, her beauty, and
the inspiring ceremony,

JX/TORE news from Mitzi Cum-
*■ fJ- mings, who circulates more widely
in Hollywood than an issue of United
States currency. From her letters to
Joan, published every month in Photo-
play, you may learn what the exciting
people of the movie colony are saying and
doing. Mitzi loves the life and lives it
with grand, glowing spirit.

We'll bet Jean Harlow and Mitzi Cummings were swap-
ping secrets when the cameraman's flash interrupted
them. And judging by those smiles, they both must have
heard cheerful little earfuls

took all my attention. I couldn't even
tell you who was there.

NOW from the sublime to the other
thing.
We took two hours for lunch at the
Vendome — the lovely Mrs. Robert
Florey, Josephine Hutchinson, that de-
lightful and capable young actress who
is going to appear in the screen version
of "Midsummer Night's Dream," and
Doris Warner LeRoy, and me. And we
had a giggle when Doris suddenly pointed to our hats. All four
of us had gone Tyrolean with mad feathers. Style slaves,
that's all we are.

Doris was awfully excited because for the first time she was
going out to visit husband Mervyn LeRoy's set of "Sweet
Adeline." Poor gal! For weeks now she's been staying home
every night and going to bed early. When that director-spouse

of hers is making a picture
that'sthelaw.she'slearned.
But she's quite content to
stay in her mansion and
read out of her first-
edition library, or look at
a movie in her private
projection room. With all
that luxury, though, she's
simple and sweet and fine.

I KNOW you're going to
think I'm always ravin'
about Woody Van Dyke,
the director. But I can't
help it, he's such a peach.
Last letter, if you remem-
ber, I told you how he
called and invited me to a
party and simply sky-
rocketed me out of the
doldrums. Elegant party.
Always elegant parties.
Billie Burke was there,
and Madge Evans, Minna
Gombell, Ted Healy, Bob
Woolsey and Anna May
Wong.

The Chinese lady was
late because she was giv- ]
ing an Oriental dinner and
had to wait until she was
free. She is so charming
and cultured that I'm al-
ways on pins and needles
waiting for her. Someone
said regretfully that she
had just missed the
Chinese consul — he
couldn't wait any longer
for her. To which our
Miss Wong murmured,
"Ah, these Chinese, they
always retire early."

My friend Woolsey and
I had quite a seance, we
did. And I learned alJ

about his life. 1 1 e was a jockey at
the age of fourteen. But he
thought he oughta use his face to
make people — not horses— laugh,
'so he became a comedian! Did
you ever hear of such a man!

That Healy kills me, honest.
•He's such a scream. We were sit-
ting outside by Van's swimming
pool, where there is a barbecue
place and a big log fire (which was
burning, believe me!). It was just
delightful, sitting there in the star-
light, listening to Ted's amusing
stories. Just a little group of us —
Muriel Evans, Irene Hervey, Nick
Stuart and a couple of others.

"Once," Healy tells us, "I was
a master of ceremonies at a bene-
fit where one of the guys to appear
bn the program is named Tito
Schipa. I never heard of him, so
•1 stick him on first, which is the
worst spot. But when I go out
;ind announce him, the house
tomes down. I can't imagine what
for. Well, the little fellow goes
put and starts to sing, and gosh,
le's plenty good. I send him back
■:hree times before I learn that he's
pne of the world's finest opera
fingers. I guess he must have
'iked me, because that evening he
comes to my dressing-room to get
better acquainted. A coupla thugs
•vere there. They wanted to go
put to a night club, and the little
yellow asks to go along. We took
>im with us, and he told me
afterward that he never had
iuch a swell time in his life."
■ lealy shook his head.
[' Gosh, that boy's gotta
i'oice. Wish I owned ten
er cent of him!"

ONE particular day re-
cently was what you
night term momentous.

?he beautiful, cul-
ured Anna May
Vong was so
sisurely over dinner
he missed the Chi-
nese consul

Max Reinhardt's presentation of "A
Midsummer Night's Dream" will
come to the screen now. Here is
Reinhardt signing a contract to pro-
duce spectacles for Warner Brothers.
Jack Warner (left) and Hal Wallis are
watching

Louise Fazenda's party was that
night and, of course, I wanted to
look very special. So to the
beauty shoppe, where they let
loose on little Cummings.
And, I must first tell you a
story about Miriam Hopkins
that came from my opera-
tor, who, like Miriam, is a
Southern girl. It was
that, I'd judge, which
started the bond of
friendship between
them. Anyway,
the little beauti-
cian gets herself a
vacation, spends it
on a trip to Pana-
ma, and promptly
falls wildly in love
with an army flier.
She comes back,
and one day dur-
ing a shampoo ,
CONFESSES ALL
to Miss Hopkins, plus
the information that her
beau is coming up to Los
Angeles to see her . . . and may-
be to marry her.

[ PLEASE TURN TO PAGE 89 ]

rma

earer

Rel

axes

Norma Shearer surely is
just about as chic as any-
thing we ever saw on
horseback — or off, for that
matter, when she dons her
fine tan whipcord breech-
es and her English knit
shirt of darker tan. She's
taking things easy, after
her success in "The Bar-
retts of Wimpole Street"

When you need
rest, stand on your
head ! Norma does
it on the spring-
board of the swim-
ming pool at her
Santa Monica
home. And isn't her
nautical lounging
suit, shown above,
a nifty beach outfit?

Here's One Fat Man
Somebody Loves

DWARD ARNOLD should know. He says that being
a fat man has its advantages, particularly in the movies.
Because, he explains, he can play all sorts of character
roles and last indefinitely. He'll tell you that a movie
fat man, in that respect, has it all over a romantic leading man.
Of course, that's Eddie's opinion.

He declares he's the happiest man in Hollywood — for two
reasons. First, because he's the proud father of three fine
^children, nine, fourteen, and sixteen. Second, because he's gone
•beyond being just established in pictures and has reached the
jStage where he's in constant demand. And his record backs up
ithat last statement. You know of "Wednesday's Child."
(Going the rounds now are his " Biography of a Bachelor Girl,"
and "The President Vanishes." There are three pictures in
ibout three months. And two more are already lined up for
him. Yes, it might be said safely that Eddie is in constant
demand.

And here's something about his private life. His favorite
indoor sport is cooking! Honest. He likes nothing better than
to don a huge — and huge is the word — apron and prepare the
evening meal for his family. "And if you don't think I'm a
?ood cook," he'll challenge you, "take a look at my youngsters.
They're the healthiest in town!"

Born on New York City's East Side, Eddie had to hustle for
limself very early in life. Why, at ten he was an office boy in a
aw firm! Through a settlement house club, he became interested
n theatricals. Then came years of vaudeville and stock. And
hose years were well inter-larded with many lean and hungry
lays! But, they taught him the lesson of saving for that im-
>robable (for him) rainy day. Which brings this up:

He never carries an umbrella and nobody can get him into a
>air of galoshes, overshoes, if you like it that way.

She's The Belle Of
The Film Colony

TOBY WING, a pink and golden doll-baby, a peppermint
stick of loveliness. Well, to sum it all up, Hollywood is
completely Toby-struck. Toby-struck has a real mean-
ing down South, Suh, where Toby hails from. It means
a homely colt. Can you imagine Toby, at any time in her
young life, being homely?

And speaking of her young life, this nineteen-year-old blonde
of enjoyable pertness is just what the doctor ordered, Holly-
wood's males contend.

But why? Well, gather closer. Here it is, as Toby gives it:
What's sauce for the goose, is applesauce for the gander. And
this is how it works:

Toby's first great romance was Jack Oakie. Jack asked for
a movie date. But, said Toby, you must ask mama. And Jack
had to ask not only mama but papa. And Jack had to have
references! So he brought over his sister and her two children!

Then H. B. Franklin, Jr. "I simply adore beautiful cars,"
she said of his. (Remember that statement for when you read
further.)

Ah! And then came Maurice! None other than Maurice
Chevalier. A demure little red dress with a more demure little
Toby in it got Maurice, Toby says. But Maurice also got
Toby. "I shall never, never forget Maurice," she vows.

Anyhow, enter Mr. Jackie Coogan. This one still stands,
with a few intermissions, such as Alfred Gwynn Vanderbilt, Jr.,
and Howard Hughes, producer of "Hell's Angels," is also
prominently in the running. And another young producer
was no proof against Toby's spell, for a time.

Now remember that line about H. B. Franklin's cars. "I
simply adore old cars," Toby told Alfred when he drove up for
her in one.

Toby's great fun, and really most naive.

Hollywood
Holiday
Follies

Christmas time is drawing near.
Santa Clans will soon be here
With his presents and his toys
For all the little girls and boys.

YEA, ye good old YuleHde draweth nigh. Too nigh for
any good, if
you want
cold, hard
facts. And poor old
Hollywood, its muf-
fler knotted about
its quivering Adam's
apple, plodded on its
weary way unrejoic-
ing. Weary from its
long skipping o'er
the ice cakes with
the bloodhounds of
censorship yapping
at its heels. As well
as its nice people.
In fact, Hollywood
wouldn't have cared
a jingle if Santa
Claus had fallen off
someone's simple
old chimney and
broken his silly old
neck.

To be honest, a
lot of people had no

idea what all the rushing around was about. Some had
a vague idea St. Patrick's day was about to descend on
them and others decided it must be Groundhog day
that was approaching. But nobody cared much, one
way or the other.

And then, as if by magic, one lovely morn, battered
old Hollywood lifted its blackened eyes and took one
look at the holly berries, took one sniff at the plum
puddings and one glimpse at Sam Hardy's new red and
green overcoat and cried, "It's Christmas. Let's rejcice.
Let's throw off this mantle of gloom and make this a
Christmas none shall forget."

Loud rang the huzzahs. In fact out at Warners
they had to gag Joe E. Brown to keep him from
splitting asunder the nearby mountains and Al
Jolson's head. Overnight committees were formed
and Hollywood's Holiday Follies was on.

Meetings were held nightly at the Brown
Derby. "We'll unite in one grand colossal holi-
day jubilee," Winnie Sheehan announced.
"Let's have all the old Christmas jingles
printed and handed out so all may read. What
about the reindeer one that goes 'On Dasher!
On Dancer! On Prancer and Vixen!"?

"Just a minute," another producer spoke
up. "Just who are these 'Dasher' and
' Dancer' people? Why should we give pub-
licity to those guys? I
move we make this a
Hollywood thing and
exclude all outsiders."
So a writer from one of
the studios was hurriedly
summoned who made the
necessary changes. The
poem was then rewritten
and passed out around to
great applause while
everyone read in unison,

"On Schulberg! On Thalberg! On Zanuck and Selznick!

On Briskin! On Ruskin! On Rivkin and Riskin!"
The cheering practically tore down the Derby. Then a direc-
tor from Paramount stepped forth and said he wanted to con-
tribute another gem of Yuletide cheer in the little poem,
"Jingle bells, jingle bells, jingle all the way."

" Our version," he
said, glancing ner-
vously about, "goes
like this:

"Jingle Belle of
the Nineties,
Jingle Belle of
the Nineties,

Jingle all
the way up to
the nearest

Paramount theater and see Mae West in her new super colossal
picture."

Screams of protest arose just as he had expected. "Let there
jbe no advertising, gentlemen. Let this be strictly uncom-
mercial."

The director retired in silence.

A timid little assistant director from Warner Brothers then

arose and said, " Gentlemen, we
offer this old rhyme,

"Little Jack Warner, sat in a
corner,
Eating his Christmas pie.
He put in his thumb-

'And Joe Brown bit it," some-

Bing could sing under the Paramount
windows and Rudy and Dick before
^ arncrs, while other studios could
stand by with buckets of scalding water

ILLUSl H VI I p

FRANK U <) 1) r K S

one rudely interrupted while the little assistant director broke
into sobs and had to be led from the place.

Walt Disney then arose and said he would like to submit his
version of a famous Christmas poem. So saying, he began,
" Twas the night before Christmas, when all through the house

Not a creature was stirring, not even Mickey Mouse."
"I don't know about that," a supervisor said. "Sounds like
to me it ain't got no class or somethin'. That way it could be a
house just anywhere. Why not give it a touch of Beverly Hills,
like this:

"Twas the night before Christmas, when all through the
twenty-two room Spanish stucco house including the
tennis court, swimming pool, patio and Gilbert Roland,
Not a creature was stirring, not even Mary Boland."

"Yea, but where was
Charlie Ruggles about that
time?" someone wanted to
know, which just spoiled
everything.

"There's more to that
poem," Adolph Zukor said.
" There's one part that says,
"When out on the lawn
there arose such a
clatter
I sprang from my bed
to see what was the
matter."
"Well, there's nothing new in that," Gary Cooper protested.
"Everyone in Hollywood has been springing from their beds
for years at terrible clatters, and it's always Jack Oakie getting
home from a party. I move we skip that part."

It was skipped. While someone else asked what about the
one that went,

"Here are the stockings of little Nell,

Oh, Mr. Santa Claus, fill them well."
Immediately Howard Strickling of M-G-M
sprang to his feet and said, " I submit this one
in the name of my boss, Louis B. Mayer." At
this, flags were unfurled all over everything
while, amidst loud cheers, Howard read,
"Here are the stockings of little Greta
Oh, Mr. Santa Claus, don't forget-a."
Immediately Paramount leaped up with,
" Herearethestockingsof little Marlene,
See if you can fill them as well as she
can-a."
All of which was terribly confusing
to a little gentleman in the corner
who, in some way, had gathered
the idea it was Yom
Kippur that was on its
way and just why
Garbo's stockings and
Santa Claus should be
messing around with
Yom Kippur was be-
yond him.

"How about this,
'Oh what fun it is to
ride in a one horse open
sleigh"? Harry Cohn,
of Columbia asked
next.

" No one rides behind
a horse in anything
these days,' ' Bob
Montgomery replied,
"except Will Rogers,
and certainly you can't
go around singing, 'Oh
what fun it is to ride in
Will Rogers' one horse
open buckboard'."

" Skip the buckboard," someone else suggested, "and give the
whole thing class like this,

" Oh what fun it is to ride in a 16-cylinder limousine with red
leather seats, convertible bars, flower vases, cigarette
boxes — "

"No, I got it," a director snapped. "We'll sing,

"Oh what fun it is to ride in Bill Fields' trailer, including
everything."

And so it was decided.

Sam Goldwyn now arose and said, " Gentlemen, I propose
that during the Holiday Jubilee, the studios show their good
will to each other."

" We can show you our good Will Rogers," a gentleman from
Fox interrupted. And in view of the fact that Will's high box-
office rating was a heartbreak to everyone, a stunned silence
followed while the gentleman (or maybe he wasn't in every
sense of the word) from Fox crept out the back door. And that
ended the good will business for once and all.

Right here, a little trouble arose. W. C. Fields said that unless
he could climb up on Paramount 's roof and sing his favorite
Christmas song entitled, " Up on the housetop, hie, hie, hie,"
he wouldn't play. And Jimmy Durante came back and said
that if Fields was allowed to " hie" on the roof, then he wanted
to wear the mistletoe on his hat. It was finally settled that
Fields could sit on the roof and sing, "Up on the housetop, hie,
hie, hie" to his heart's content and Jimmy could wear the
mistletoe and if anyone succeeded in kissing him in spite of the
nose, he should be awarded the role of The Art Jul Dodger in the
next Dickens drama.

WHEN it came to the selection of the Carol singers, the
confusion was terrible. Warners insisted the serenaders
consist wholly of Rudy Vallee and Dick Powell. This simply
crushed the spirit of Lyle Talbot forever as Lyle was dying to
sing under all the girls' windows.

Paramount immediately turned pink with rage and insisted
that Bing Crosby be the Carol singer. M-G-M rather timidly
said they had thought of Chevalier, and in no uncertain terms
everyone howled they would tolerate no one going around in a
straw hat singing "The Merry Widow Waltz" under their win-
dows with a French accent. That life was hard enough as it was.

T\ TELL, the argument waxed long and fierce. Finally Para-
VV mount screamed, "We simply will not have Rudy Vallee
going around under windows singing, 'Hi ho, everybody, I'm
just a vagabond lover,' and Dick Powell coming in with ' Pop
goes your heart'."

"We could fix that," Warners argued. "We could give it a
little Christmas twist like ' Pop goes your little new popgun' or
'Pop go your nice little popcorn balls'."

"Aw, pop goes your weasel," Paramount sneered.

" Well," they came back, "it's better than Bing Crosby going
around warbling, ' Is it the trees, is it the spring? No, it's love
in bloom, boo boo boob boo'."

"That's easily fixed," a song writer from Paramount said.
"We'll just have Bing sing, 'Is it the trees all covered with
tinsel? Is it the Spring in my little Jack-in-the-box? No, it's
my little potted poinsettia in bloom, boo boo boob boo'."

Anyway, it was finally decided that Bing could sing undei
the Paramount windows and Rudy and Dick under the Warner
Brothers windows, while all the other studios could stand by
with buckets of scalding water for anyone who dared warble a
note near their premises.

Then came the most important problem of all: How to enter
tain Santa Claus. This brought on a terrible clamor of disagree
ment but finally it was decided a committee composed of s
prominent supervisor from each studio stand on guard at Mat
West's chimney, for, knowing Santa Claus from a way back
they had a hunch that that would be the first place he'd breal
for. All things being considered [ please turn to page 105

Alice Brady at home. And Miss Brady's Beverly Hills house is one of the most colorful in Moviedom.
The walls are done in tones of red, the predominating color. That fascinating couch, with space for flower
pots on the ends, was designed especially for the star by Adrian

It's Never Been
Done Before

Ketti Gallian did
not speak English
when Winfield
Sheehan dis-
covered her. She
learned to in a hun-
dred days!

IT has never happened before.
True, there have been the
Garbos, the Dietrichs, the Stens,
the Lilian Harveys, the Made-
leine Carrolls — a whole parade of
glamorous ladies from Europe to
the American screen — but they were
all stars in their own countries be-
fore boarding fast liners for our
shores.

Never before has a virtual unkno
major stage appearance to her credit

An extra girl from over-
seas becomes the star of
her first Hollywood film

By Robert Burkhardt

wn — a girl with only one
and whose screen "experi-

Sten, Dietrich, and
all the rest really
were stars abroad,
but ''Marie
Galante" is Ketti's
debut as a movie
lead

ence consisted of appearing as an
extra and bit player — been brought
to Hollywood from overseas and
pitchforked into a starring role for
her picture debut.

The girl is Ketti Gallian, of
France. The story of her discovery
and the odd provisions of her con-
tract -is one of the most unusual in
the history of a place where the
unusual occurs so often that it has become commonplace.
It happened one night — [ please turn to page 106 ]

CERTAINLY
Mady Christians
is someone to
look up to in this
scene from M-G-M's "A
Wicked Woman.''
Charles Bickford is the
intense gentleman em-
bracing her, and another
Charles, by last name,
Brabin, is directing
them. He is the man
with one foot on the
stairs. Behind Mr.
Brabin are his camera-
men and technicians,
getting some unique
shooting angles for the
first American film of the
Viennese Miss Chris-
tians.

This photograph was
taken on the set at the
M-G-M Studio, and
shows you actual work-
ing conditions. "A
Wicked Woman" is now
ready for your inspec-
tion, so you may see this
sequence as the movie
camera caught it.

' I 'HE screen story is
•*• based on a' novel by
Ann Austin. It involves a
woman's determined
fight to give her children
a decent upbringing,
after she has killed their
rum-running father and
fled with them from a
miserable existence in
the malarial swamplands
of Texas. Bickford plays
the part of a man who
comes into Mady's life
after she has established
herself in a position of
respectability. But then
the veil is torn from the
ugly past, and the com-
plications are stirring in
their drama. It all —
but, see for yourself.

T-TERE are a few facts
about Mady Chris-
tians that may have
slipped your mind. Al-
though this is her first
Hollywood picture, she
has acted before the cam-
eras across the sea. She
wasintheFox-Gaumont-
British "Heart Song."
She is no stranger to the
New York stage. Earlier,
she attended Max Rein-
hardt's school in Berlin.
Someof the other players
in "A Wicked Woman"
are Jean Parker, Betty
Furness and Sterling
Holloway.

CAT 4 • The Monthly

ro/ur

Announcing

Broadcast of

The late Lou Tellegen was at
the height of his romantic
career at the time this picture
was taken, shortly after his
marriage to Geraldine Farrar
in 1916. Then there was not
a hint of the divorce and
other clouds that were to
darken his horizon

Frank Fay and his charming
wife, Barbara Stanwyck, as
Frank was about to officiate
as Master of Ceremonies at
the dedication of a Sunday
Night Frolics series, in Holly-
wood. Frank and Barbara
are still one of the most de-
voted film colony couples

THE month's laurels for tact go to the head
waiter at the Trocadero, Hollywood's
super supper spot. Douglas Fairbanks
sat with an after-theater party including Clark
Gable, Richard Barthelmess, Kay Francis and
other friends. In came Mary Pickford with
another party, including the Johnny Mack
Browns and the Charlie Farrells.

The head waiter never batted an eye. With
perfect calm and poise, he escorted Mary and
her entourage to a booth at the other end of the
room.

And there sat the Royal House — divided, as
far as the house would allow — until Doug broke
the ice and went over for a friendly chat with
Queen Alary.

•"THEY are now running excursions, in Holly-
wood at least, to view that magnificent new
fence of Garbo's. It is made entirely of willow
branches, ten feet high, with sharp points suit-
able for catching the trouser seats of any prying
cameraman.

Willow, weep for us!

A LIST of grand old-timers, glorious stars of
not so long ago. Chesterfield has this line-
up: Mary Carr, Barbara Bedford, Bryant
Washburn, Robert Frazer. At Columbia: Lou
Tellegen (whose death came before he could
make a picture), Hobart Bosworth, Claude
Gillingwater.

HPHEY were taking pictures of
A Margaret Sullavan in gorgeous
evening gowns. Maggie was all
done up, fine feathers, fancy hair-
dress and everything. Then the
cameraman happened to glance down
at the floor — and almost fainted.
La Sullavan was barefooted !

"Why not?" she advanced. "My
feet don't show, and it's a lot more
comfortable."

r^HARLIE BUTTERWORTH and the
^^Missis (Ethel Kenyon Sutherland Butter-
worth) were observed at the El Rey Club, evi-
dently having a grand time. The third person

at their table was none other than Director
Eddie Sutherland — former husband of Mrs.
Butterworth, who was the third Mrs. Suther-
land.

/GLORIA SWANSON and Herbert Marshall
^"*seem to favor the old established Cocoanut
Grove, rather than the newer and fancier night
spots. They were observed there again recently
— Gloria looking like an eighteen-year-old col-
lege girl.

A T the Hollywood premiere of
•"•"The Affairs of Cellini," Louis
Calhern, one of the cast speaking
from the stage, said, "I consider it
an honor to have worked in this pic-
ture with such artists as Fredric
March, Frank Morgan, Vince Bar-
nett, Fay Wray — and that's all."

Was Connie Bennett's name de-
liberately or accidentally left out?
Louis said "And that's all." But
he won't talk.

Among the celebrities at the "Wel-
come Home" for Marion Davies
were the Countess di Frasso and the
noted producer, Samuel Goldwyn

"VEARS ago, Roscoe (Fatty) Arbuckle gave
James Cruze a gold watch. He engraved it
'Roscoe to Jimmy." Shortly after, someone
stole the watch. Recently at a party at Cruze's
house, a guest drew out his watch and Cruze
saw it.

"Where did you get it?" he asked.

"In a pawnshop, bought it for the gold,"
said the man, " then I decided to use it."

They opened the case. There were the words
— "Roscoe to Jimmy."

TT was Lee Tracy who sprung this.
"Yeah, when you don't work on
Broadway, it's a lay-off. But when
you don't work for two years in
Hollywood, you're a supervisor."

Al Jolson, just up to his old tricks
at one of the wrestling matches
that entertain Hollywood. The
whole town turns out on these
nights

Now that Marlene Dietrich and Josef Von Sternberg have

decided to go their respective cinema ways, can it be that

Rouben Mamoulian, here with Marlene, is to be her next

director? Ernst Lubitsch has a bid in, too

XJOW that Marlene and Von Sternberg have
decided to go their separate ways, profes-
sionally, it will be interesting to see the paths
that each choose.

Maestro Von Sternberg believes that "We
have progressed as far as possible together. My
being with Miss Dietrich any further will not
help either her or me. If we continued we
would get into a pattern which would be harm-
ful to both of us."

So, when " Caprice Espagnole" is completed,
Marlene will have another director and Von
Sternberg will have another star. Rumors also
persist that Josef will be leaving Paramount.

"V\ 7TLL Virginia Bruce and John Gilbert

remarry? Virginia still insists on being
addressed as Mrs. John Gilbert. And there's
the baby.

"TVDUG FAIRBANKS, Jr. comes home next
February, for a stage play, "Moonlight Is
Silver," starring him and Gertrude Lawrence.
If I'm correct, it was in this play, on the Lon-
don boards, that Doug, in one scene, clasps a
jeweled bracelet on Gertie's wrist, prop jewels,
of course. Now listen closely — one night Doug
popped on the bracelet — and it was the real
thing. Just a love token.

/"^IRLS, you needn't pass up that date with
^^the boy friend now, because you're just
back from the hairdresser's with your locks all
done up tight in pins. Because, Joan Crawford
appeared at a premiere of a picture with
Franchot Tone — and Joan's hair was all done
up in paper curlers.

CAMUEL GOLDWYN, noted Hollywood
' producer, has chosen the following as the ten
most outstanding stars of film history, and
rates them in the order named: Charles Chap-
lin, Douglas Fairbanks, Sr., Norma Shearer,
Mary Pickford, Marguerite Clark, Janet Gay-
nor, Greta Garbo, Clara Bow, Wallace Reid,
and Marie Dressier.

Of the ten listed, only five are making pic-
tures today, two have died, and three, in-
cluding Mary Pickford, have retired from the
screen.

A FTER this, anything's likely to happen.
You don't have to imagine Mae West
with a lorgnette — you can see her with one.
Hollywood got its first glimpse of the haughty
article at Emanuel Cohen's recent testimo-
nial dinner — when Mae impressively eyed the
assembled guests through it.

She says she always has carried one — but
maybe she was bashful before.

Hollywood, slowly recovering, expects a
monocle any day now.

T\7HILE making "Repeal" at the M-G-M
studio, Carole Lombard had a birthday.
Among the lovely gifts were six or seven huge
bouquets from William Powell. But the climax
to the celebration came when the delivery boy,
through error, tried to deliver the flowers to
Jean Harlow's dressing-room.

PT'HE ill-fated "Trader Horn" catastrophes
are clearing up a little. Dozens of doctors
have attended Edwina Booth, trying to effect
a cure for the mysterious jungle fever she is
said to have contracted during the African
expedition.

Now there is a doctor who is certain of a
cure.

And friends of Duncan Renaldo are making
an appeal for his release. He was convicted
on an immigration quota infringement.

The Marquis de la Falaise was stricken with a
similar jungle fever, and John Barrymore has
recurrent attacks of the same disease.

Paramount employees are
all for Emanuel Cohen,
studio head. So much so,
that they gave him a testi-
monial dinner, at Holly-
wood's Ambassador. Mr.
Cohen is smiling happily.
And why not, with such a
bevy of beauty about him?
From the left, you can
readily recognize Mary
Boland, Katherine DeMille,
and (standing) Arline Judge

Sidney Kingsley is
referred to as the
"Dark Horse" in the
life of Sylvia Sidney.
This is the first time
they have been
caught together by
the camera, although
they've been around
town quite a lot, off
and on

Step up and meet
royalty ! King Ed-
mund Lowe and his
Queen, Mrs. Wilson
Jones, as they pre-
sided at the gay
charity entertain-
ment given by the
Twenty Little Work-
ing Girls at the
Cocoanut Grove in
Hollywood

When royalty was divided. Here you see Mary Pickford
and her guests at the Trocadero, in Hollywood. From the
left, are Charles Farrell and his wife, Virginia Valli Mrs
Johnny Mack Brown, Queen Mary, and Johnny Mack
Brown. And, although you cannot see him, Douglas Fair-
banks and his pa.rty are at another table, with the width of
the big room between them. However, shortly after this
picture was taken, Doug joined Mary

•"THE mysterious lady who has been calling on
George Brent is Greta Garbo— after all the
speculation going around for weeks and weeks.
The Toluca Lakers have been practically
dithered ever since they discovered Greta in
George's back yard playing handball and
. punching the bag with a right good will.

npWO comedians went to the
wrestling matches together.

"That wrestler certainly has a lot
of stamnia," one remarked.

"Yes, but not nearly as much as
Rosco Ates," the other drawled.

pHE proudest possession of a Hollywood
child star is his bridge-work, of all things!
As fast as the children lose their front baby
teeth, they are rushed to a dentist who fits
Lhem up with false ones which they wear all
trough the picture.

You should see little David Holt and Cora
iue Collins proudly displaying theirs. "It

When you can get
Mr. and Mrs. Will
Rogers together
for a picture, it is
a rare event, in-
deed. Mrs. Will
is very modest,
and shuns the
limelight. How-
ever, Will is fond
of boasting he is
about the only
man in all movie-
dom with his
original wife

jlicks, too," they say.

^IFE begins at forty. But to Arthur Byron,
a good actor all his life, stardom, with its
lamorous reward, eluded him until he was
xty-five. It was then Walter Wanger signed
im to the starring role in "The President Van-
hes." And from all reports, the delay was well
orth waiting for.

HrHE lowdown on the Gary Grant-Virginia
Cherrill bust-up, which was followed by
Cary's dramatic bender, mistaken for a "sui-
cide attempt," is that the two couldn't get
along on money matters.

"\Jty C. FIELDS is the favorite
• comedian of Toby Wing and
her sister Pat. Almost daily, Toby
goes from the Paramount studio and
relates the latest Fieldsiana. So
Toby's five-year-old brother Paul has
developed quite a curiosity about W.
C.

"Tell me," he said to Toby, "is

W. C. Fields a real actor, or is he
like Mickey Mouse?"

•"THE last tone world's champion Max Baer
came to Hollywood, he was all tied up in an
Indian summer romance with his wife, Dorothy
Dunbar.

But this time, with his marriage all washed
up, Max is running a temperature over Judith
Allen.

They've been doing the night spots together,
in fact, ever since he first came to town for
"Kids on the Cuff," at Paramount, where
Judith also checks her working togs.

[ PLEASE TURN TO PAGE 86 ]

The

Rediscovery" of

Bill
Frawley

One of the "pioneers"
of Hollywood, he has
made a film comeback
after a long absence

By Scoop Con I on

The Frawley in this scene from
"The Lemon Drop Kid," with
Minna Gombell, is the same
Bill you see seated at the desk
in the old production still at
the right

NE of Hollywood's newest
screen " discoveries " turns
out to be one of Holly-
wood's "pioneers"!

Because of several sparkling per-
formances during the past year,
William Frawley, of the Broadway
stage Frawleys, has been presented
with a long-term contract by Para-
mount.

During the filming of the "The
Lemon Drop Kid," one of those
Damon Runyon stories of big city life
in which Bill Frawley is right at home
as a wise-cracking, sentimental tough
mug, it was accidentally discovered that
the new "discovery" knew more about
Hollywood than most of the boys and girls
who earn their bread and butter, swanky cars
and Beverly Hills estates out here. How do you
like that?

Bill Frawley knew all the picture stars
of one, two decades ago — when. More
than that, he knew most of them very,
very well.

Bill is still quite a young fellow, but he
has a well-stocked memory. He remembers
when all colossal movie deals were made
on the Million Dollar Rug of the old Alex-
andria Hotel; when Charlie Chaplin, Mabel

mm*

i /

l^ljJiiplBMl

"The Thoroughbred"
was one of the early
films in which Bill
and his wife played.
She is the typist.
The late William
Russell is shown,
talking to Bill

Normand and Mack Sennett dined nightly at Al
Levy's cafe; when Richard Barthelmess, Bobby
Harron and D. W. Griffith squired the Talmadge
and Gish girls to the Alexandria Tea Room to
dance to Paul Whiteman's music; when Richard
Dix and Douglas [ please turn to page 116 ]

JEWELRY makes a perfect feminine gift, especially when it comes in sets
as this above. Hollywood loves the bracelet with matching dress and ear
clips. A triangular motif in rhinestones is a novel detail employed here

SPARKLING IDEAS

IN GIFTS

VIRGINIA PINE, appearing in "Lady
by Choice,'' wears her gift suggestion!
Earrings and a large pin of multi-
colored stones follow an old-fash-
ioned design. This duet is as charming
for formal costumes as for informal ones

CERTAIN to make a hit is
the gift of matching acces-
sories. Here, at left, is a
set of hat, gloves, scarf and
hand-bag — all in a soft,
hairy knit fabric. The metal
initials are part of the set

TRICKY watches are the pets of the smartest stars. They
like to give and to receive them. Two of the newest de-
signs are sketched. One is encased in a lipstick holder.
The other is a money clip with tiny watch for the motif.
The latter is a good gift for men as well as for women

MOIRE shot with gold is one of the loveliest ma-
terials of the formal season. Helen Vinson wears
this Kalloch model in "The Captain Hates the Sea.''
Wide, suspender-like pieces that tie on the shoul-
ders make a daring top to an otherwise demure gown

CHIFFON returns for the late Winter and resort
wear. In "Imitation of Life," Claudette Colbert
presents this charming vision in white. The soft
movement of skirt and wide sash are interesting
details. Front and back decolletage are the same

HOLIDAY PARTY
PREVIEWS

HOLLYWOOD CINEMA FASHIONS

here sponsored by PHOTOPLAY Magazine and
worn by famous stars in latest motion pictures, now
may be secured for your own wardrobe from lead-
ing department and ready-to-wear stores in many
localities . . . Faithful copies of these smartly
styled and moderately-priced garments, of which
those shown in this issue of PHOTOPLAY are typ-
ical, are on display this month in the stores of
representative merchants

LACE of cobweb sheerness is Banton's
thought for a forward looking mid-Winter
evening gown.^ Gertrude Michael wears
it in Menace.'' Both a cape and peplum
treatment with a back flare to the skirt are
stressed, giving a crisp, graceful line

BEADS embroidered
in a herring-bone
tweed pattern form
the unusual tunic of
Fay Wray's dinner
gown designed by
Kalloch. The tunic,
longer at back and
slashed on the sides,
is girdled with flame
chiffon. The same chif-
fon edged with beads
makes a large hand-
kerchief which Fay
wears also as a scarf

STAR ROLES FOR TUNICS

BANTON'S keen fashion eye spots the screen pos-
sibilities in the pencil slimness of the tunic. He gives
this simple gray dress of Kitty Carlisle's added dash
with an unusual collar framed by a brilliant splash of
plaid silk. Kitty wears it in "Here Is My Heart"

A LIGHT colored tunic with dark skirt is Shirley
Grey s favorite afternoon costume. The tunic is
straight and plain except for the softly draped collar
held by a gold tongue clip. This is from her personal
wardrobe. She appears next in "Wednesday's Child"'

NO, Wallace Beery isn't taking a couple of youngsters out for a walk. The
two little people are Olive and George Brasno, midgets, fully grown. They
play the roles of Mr. and Mrs. Tom Thumb in the 20th Century picture, "The
Mighty Barnum." Wally is Barnum himself, the world-famous showman

Kenneth Alexander

GARBO'S FIRST FASHION
SITTING IN FIVE YEARS!

OF all the great stars, Greta
Garbo is the most elusive
when it comes to posing in
new fashions. Thus, it is
a distinct thrill to give you a
preview of three costumes
designed by Adrian for her
new picture. A gray silk
tea gown, above, has a
pleated organza jabot and
deep dolman type sleeves

THE sports type of thing
Garbo loves — nonchalance
in the swagger lines of a
white flannel coat. A man-
nish note in the polka-dotted
navy blue taffeta scarf. And
the favorite felt hat, also in
navy with a new height to
the crown and a downward
lare to the brim. Adrian's
hint for a resort costume

Three exciting costumes
from The Painted Veil
posed exclusively for

PHOTOPLAY

These costumes are not obtainable in
Hollywood Cinema Fashions' stores

A NEW version of the famous Garbo pillbox
hat is this distinctly Oriental creation in corded
felt with jade ornament. Jade is repeated in
the exotic Chinese ornaments used to trim the
simple white crepe dress. The scarf neckline
is held by the large clips and the wide belt
is composed entirely of antique squares held
by the carved jade buckle. Adrian uses the
dolman sleeve again but continues the fullness
to the hand, where it flares outward. This,
too, is a grand Winter resort suggestion

LS9? at lusc.ous Ann Sothern through the camera eye, we see her up-

2dei°r: Bu Annh ,fhds h ^eupsetdbout She.SdStdr ^

Art ^ "KiA M I ?" bd ,ckuSround! She did avery pleasing job in United

Artists Kid Millions, and her next picture will be Columbia's "Geor

William Fraker

)rgiana

Oalute lVloy
IXobson!

A great-grandmother,
she's a fine example
for every woman who's
afraid of growing old

By Ruth Rankin

MAY ROB SON will be seventy years old on the nine-
teenth of April, 1935.
For most of us, the late sixties are regarded as a ripe
old age at which to retire and contemplate our bless-
ings. If, indeed, we are lucky enough to be around contemplat-
ing anything.

But when this amazing woman could count three score years
plus, she started out upon a new career. After twenty years as a
stage star, and some years on the stage before she was starred,
and then a successful silent-screen career, she launched out into
the audible pictures to hang up additional laurels for herself.

May's vitality, her grand spirit, are marks to shoot at. If you
have half as much steam at fifty, consider yourself a success.
There is certainly no woman in public life who offers a better
example to those who fear approaching age.

Sometimes she has as long as two days to rest between pictures.
So she spends them sitting for portraits, shopping, or making
tests at the studio. She goes to see a picture four or five nights
out of the week. Sometimes she drives her car, sometimes
Lillian Harmer, her friend, companion and secretary for more
than twenty years, does the driving.

May Robson was born near Melbourne, Australia, on April 19,
1865. Her father was Captain Henry Robson of the British
Royal Navy. He died when May was six, and she was sent to
the Convent of the Sacred Heart in London. As no young girl's
education was considered complete unless she spoke Parisian
French, May was later sent to the Pension Passy in Paris, and to
a branch of the same school in Brussels. Her life was extremely
sheltered but very happy, because Sister Teresa encouraged in
her the ambition to be a great actress.

A A AY ROBSON never knew poverty or privation in her
■*■" -*-youth. She had perhaps as fine a classical education as any
actress you can name, and she fully appreciates it. But it did
not make the way any easier when she decided to go on the stage.
Many people did not consider acting a suitable career for a young
girl in those days. She had mountains of prejudice to conquer.

From school she returned to London — fell in love, and married
E. H. Gore, a handsome young inventor. They crossed to New
York, established a home there, and a son was born. E. H.
I Gore, Jr. still lives in the same home. So did his son, Robson
Gore, until his marriage a few years ago. A baby girl, daughter
of Mr. and Mrs. Robson Gore, has been christened May Robson
II, which gives May Robson the honor of being the only great-
grandmother in pictures.

It was very daring of May to express a wish to divide her early

Approaching seventy, May Robson is today one
of Hollywood's busiest stars. With her picture
making she finds time to trade recipes with
neighboring housewives and tell stories to all the
youngsters on the block

married life with acting. But she had some friends in the
theater, and they gave her the first boost. One day, back-
stage with one of them, she heard a frantic producer grap-
pling with some lines in French which an actress was to
speak. Impulsively, May rushed to their assistance. May
wound up with two parts to play, [please turn to page 113]

Here's More

Perfection

For You

The perfect waist-
line is the enviable
possession of Jean
Parker. And Sylvia
tells you how you
may achieve a sym-
metry equal to hers.
So get busy, girls—
and you ladies fur-
ther along in years
can do it, too

Margaret Sullavan
is your example for
perfect hips. She
has no bulges and
no bumps, yet none
of her bones shows.
Follow Sylvia's ex-
ercises and diets,
and you, also, may
have the same ex-
quisite contours

Madame Sylvia is "assembling"
the perfect model to guide you in
reshaping your figure. Last
month she selected Grace Moore's
throat, Norma Shearer's shoul-
ders, and Jean Harlow's bust.
Now she adds the waistline, hips
and abdominal sculpture for the
hypothetical ideally -formed
'woman.

Says Sylvia

WELL, I certainly
started something
last month when I
began to set a
standard of beauty by picking
out the perfect bodily features
of the stars and telling you how
to perfect yourselves. I'm
practically snowed under with
letters from all my girl friends
outside the profession. You're
all asking me, "Who has per-
fect arms? Who has perfect
legs, feet, hips, etc., etc.?"
Listen, babies, just be patient.
Give me time to catch my
breath — a good deep breath.
I'll get around to it. And in
the meantime remember to im-
prove yourselves from day to
day, little by little, until you're
completely satisfied.

One letter gave me a real
thrill. It said, "Ever since
I've been reading your articles,
Sylvia (and I've read every
word you've ever written) , I've
wanted to know what your
ideals are. Now you've told
me. But tell me more. It
gives me an inspiration." And
let me tell you, letters like that
give me an inspiration.

So this month I'm going to

pick the stars who have the most beautiful waistline, hips and
abdominal sculpture. Take them as your basis of perfection
and then do what I tell you so you can be perfect, too. Are you
ready? Then here they are:

THE perfect waistline? You guessed it — little Jean Parker's.
Yes, I know she's young, but that doesn't make any differ-
ence. I've seen girls in their teens whose waistlines looked swell
when they had on their clothes — but put them in bathing suits
— and good heavens! what sights they look! Some with their
rolls of fat and others with their scrawny waistlines. Yes, I said
scrawny. The waistline is one of the parts of the body that
needs a little covering of flesh. No, I don't mean a spare tire
and I don't mean flabby muscles. I mean a covering of nice
firm flesh. And that goes for you older girls. I know you'll
squawk and say, "I had a nice waistline at seventeen, too."
Well take it from me, waistlines can begin at forty. So get busy.

Look at Jean Parker. She has a perfectly proportioned body.
I'll admit, and her waistline inclines on the long side, which is
right. Another thing that adds to the beauty of it is that
lovely flatness at the back and that grand length between her
bust and waist. And when Jean Parker puts on a girdle she
hasn't got a jelly-roll of fat pushing up over it.

I remember how thrilled my mother was because she had a
seventeen-inch waist. But how did she get it? By hooking her
corset strings around the bed-post and walking away from it.
So what happened to the flesh that was rightly at the waistline?
You've guessed it. The flesh rolled out of the top and below the
bottom of her corset. Isn't it grand that we're so much more
sensible now? Yet even today we do things to ourselves —
wrong things — that spoil the natural symmetry of the body.

So if your waistline is too long or too short, conceal it by
wearing clothes with correct lines. Your mirror can tell you
what you need to know about that. Also remember to make
your bust firm with exercise and wear a good brassiere so that
your bust and your waistline won't roll into each other. That's

Sylvia

If you have any
questions about
health or bodily
beauty, write to
Sylvia. See her
answers, page 98

Connie Bennett used to be

Sylvia's perfect hip model.

But no more! Bones should

not protrude sharply

Joan Crawford's abdominal sculpture

is something for you to strive for. She

is flat in front. And that's essential to

beauty

very important. And then you've got to make the muscles
in your back firm and flat. Here's how.

Place your feet about six inches apart, with the toes
straight out in front. Don't move your feet. Don't bend
your knees. Arms above your head. Twist and bend your
body until your finger-tips touch the floor as far out as
you can reach and slightly to the right. Do you feel the
waistline muscles pulling, particularly that one at the back?
Repeat on the left side. Start by doing this ten times a
day and work up to twenty. [ please turn to page 98 ]

Select Your Pictures and You Won't

THE PAINTED VEIL—M-G-M

GARBO is Garbo — forever. And lighted by her magic
presence this Somerset Maugham story is distinguished
and powerful on the screen. She has seldom been more real
or compelling than in the tragic role of the girl who goes with
her doctor husband (Herbert Marshall) to China, there
realizes a consuming passion for another (George Brent),
suffers the heartbreak of his disappointment, and then dis-
covers a love greater than passion for her husband amid a
cholera epidemic. Director Richard Boleslawski has cap-
tured a tremendous movement and tense realism in his
climactic scenes, but in others a vagueness hampers the
film's meaning. Marshall is as polished as usual. Brent plays
his scenes convincingly and with warmth. Jean Hersholt, For-
rester Harvev and Cecilia Parker distinctive in small roles.

THE WHITE PARADE— Fox

BLESSED with fine acting and superb direction, here is a
picture you'll long remember. Against a hospital back-
ground which is at all times genuine and human are por-
trayed the good times, the bad times, the dreams and ideals
of a group of girls in nurses training. Loretta Young, giving
the best performance in her career, stands out in the group.

A Cinderella love story threads through the picture, with
John Boles, wealthy play-boy, as the Prince Charming and
Miss Young his desired. Jane Darwell, as the soft-hearted
head nurse who must be stern, is outstanding. The entire
supporting cast, particularly Sara Haden, Muriel Kirkland
and Dorothy Wilson, is excellent.

It's a beautiful, a heart-stirring picture which keeps you
trembling between tears and laughter.

The

Shadow

A Review of the New Pictures

KID MILLIONS— Samuel Goldwyn- United Artists

HERE is a hit and a long run picture — a Cantor extrava-
ganza complete with hilarious situations, gorgeous
settings, catchy tunes and a grand cast.

Eddie, a poor and homeless lad, learns he has inherited
from his father a treasure worth millions which he must go
to Egypt to collect. Sailing on the same boat are torch
singer Ethel Merman, posing as his long-lost mother; her
thug boy-friend, Warren Hymer, pretending to be his Uncle
Louie; and Berton Churchill, unscrupulous Southern gentle-
man, all planning to cheat Eddie out of the fortune. The
attempts to bump him off on shipboard are hilariously un-
successful.

Once in Egypt things happen fast and funny. Eddie's
scenes with Sheikess Eve Sully are side-splitting.

Eventually Eddie (now Eddie Bey) escapes with the
treasure, and returns home keeping his promise to all the
poor children in the neighborhood to build them an ice cream
factory. The final sequence, with the youngsters making
merry in the ice cream plant, is in Technicolor, and you've
never seen anything lovelier on the screen. It's truly an
inspired wind-up.

The love songs in the picture are sung by Ann Sothern
and George Murphy, as sweet-singing a twosome as you've
ever heard. " Kid Millions" is an earful and an eyeful, and
you'll be humming the tunes and repeating the gags for days.

Have to Complain About the Bad Ones

The Best Pictures of the Month

KID MILLIONS

THE PAINTED VEIL

GREAT EXPECTATIONS

EVELYN PRENTICE

THE CAPTAIN HATES THE SEA

BROADWAY BILL

THE WHITE PARADE

MUSIC IN THE AIR

COLLEGE RHYTHM

FLIRTATION WALK

The Best Performances of the Month

Greta Garbo in "The Painted Veil"

Eddie Cantor in "Kid Millions"

Myrna Loy in "Broadway Bill"

Loretta Young in "The White 'Parade"

Jane Darwell in "The White Parade"

Myrna Loy in "Evelyn Prentice"

William Powell in "Evelyn Prentice"

Florence Reed in "Great Expectations"

Jack Gilbert in "The Captain Hates the Sea"

Victor McLaglen in "The Captain Hates the Sea"

Warner Baxter in "Hell in the Heavens"

Joe Penner in "College Rhythm"

Casts of all photoplays reviewed will be found on page 122

BROADWAY BILL— Columbia

DOTTED with unforgettable moments, this is a grand
picture. The story is of Warner Baxter, who breaks
away from the dull task of making paper boxes under the dom-
ineering fingers of his wife, Helen Vinson, and her father,
Walter Connolly, and stakes his future on a gallant race
horse, Broadway Bill.

Everything, except Myrna Loy, seems to plot against his
winning — living in a ramshackle stable, unable to raise money
for the entrance fee, Broadway BUI catching cold during an
endless rain storm, a crooked jockey.

When the race is finally run, for sheer, unbearable ex-
citement it should end all horse races on the screen. Nothing
so tremendous could ever be repeated. The story leads up
beautifully to such a dizzy height of emotional relief that
you will rise and cheer furiously at that wonderful horse,
Broadway Bill.

Director Frank Capra executes a miracle of timing and
direction, and the entire cast has lifted the picture to
dramatic excellence.

Myrna Loy's performance is distinctly memorable. And
Clarence Muse, Raymond Walburn and Harry Todd are
stand-outs. Baxter's work is extraordinarily effective.

Those who love horses will be particularly enthralled with
this movie. It is a Capra picture, and a racing picture, and
a good picture.

GREAT EXPECTATIONS— Universal

WHERE has Dickens been all this time? Or possibly,
where have the studios been? Here is superb movie
material.

This is the story of the orphan boy, Pip, (admirably
played as a child by George Breakston, later by Phillips
Holmes), and his love for Eslella (Jane Wyatt), adopted
daughter of the eccentric Miss Havisham (Florence Reed)
who took the orphan boy into her weird home.

The story unfolds with interest and mystery, and is
clearly delineated on the screen. Florence Reed gives an
outstanding performance, as does Henry Hull.

Alan Hale, Rafaela Ottiano, Francis L. Sullivan and the
rest of the large cast are more than equal to their roles, and
the result is a fine and worthwhile production.

MUSIC IN THE AIR— Fox

IN THIS charming musical, gay with laughter and rich
with song, Gloria Swanson returns to the screen. With a
fine sense of comedy she portrays Frieda, tempestuous opera
star in love with her leading man, Bruno (John Boles).

Miss Swanson's voice may not be adequate as a foil for
that of Boles. But their scenes together — their violent
quarrels and ecstatic reconciliations — are so amusing and
spontaneous that this possible fault is offset.

Charming, too, are the bewildered Bavarian villagers,
Karl (Douglass Montgomery) and his sweetheart, Sieglindc
(June Lang) and her father, Dr. Lessing (Al Shean), who
have come to Munich to hear Frieda sing.

Altogether it's a delightful adaptation of the operetta,
with Jerome Kerr's fine score given its full value.

The National Guide to Motion Pictures

'REG. II. S. PAT OFF.)

EVELYN

PRENTICE-

M-G-M

COLLEGE

RHYTHM—

Paramount

THAT ace of teams, William Powell and Myrna Loy, score
another hit! In deeply human roles they bring a rare sense
of reality to the characters: Myrna as the wife who thinks she
has murdered a man, Powell as Myrna's lawyer husband hired
to defend Isabel Jewell who is accused of the murder. Miss
Jewell makes cinema history in a short courtroom scene. Una
Merkel and Harvey Stephens give grand support.

GET ready with a sis boom rah for another bright and tune-
ful collegiate musical with football star Jack Oakie steal-
ing girl friend Mary Brian from Lanny Ross, and Joe Penner
adding gales of laughter. A wow is Joe, and no mistake!
The music is catchy, the comedy hilarious, and the climax
hysterical with the nuttiest football game ever played. Helen
Mack, Lyda Roberti, George Barbier, help greatly.

THE

CAPTAIN
HATES THE
SEA—
Columbia

FLIRTATION
WALK—
First National

FOR the grandest trip of your life board the ship commanded
by Walter Connolly, a Captain who really hates the sea.
On board you'll meet John Gilbert, tippling reporter, Victor
McLaglen, detective, Tala Birell at her most gorgeous, and
a whole boat load of favorites. The story sails smoothly, with
bright dialogue, good comedy, and strong direction by Lewis
Milestone. A man's picture no woman will want to miss.

THE

FIREBIRD—

Warners

THE colorful background of West Point, the double barrellec
charm of Dick Powell and Ruby Keeler, and the sensitive
human directorial touch of Frank Borzage make this a granc
parade of entertainment. Pat O'Brien plays the tough
knuckled, sentimental sergeant to perfection. Ross Alexande;
scores as Dick's pal. Bring the whole family — and perhaps;
handkerchief for the final scenes.

KENTUCKY
KERNELS—
RKO- Radio

THIS exquisitely wrought picture is proof that the movies
have grown up. The story is of Ricardo Cortez, an actor
who tries to ensnare Verree Teasdale, wife of Lionel Atwill,
into a love trap. Verree spurns him, but her young daughter,
Anita Louise, is caught in the web, when Cortez is killed.
Here is splendid adult screen entertainment, magnificently
acted. Anita Louise gives an outstanding performance.

LEAVE your superiority complex at home and indulge ij
unrestrained mirth at the most absurd antics of Wheele
and Woolsey. As custodians of a young heir, Spanky McFa
land— who is alone worth the price of admission— they go dow
to Kentucky and get mixed up in a feud, with moonshine an
roses and phony Southern accents. Mary Carlisle and Noa
Beery add to the merriment. You'll have a good time.

Saves Yo ur Picture Time and Money

THE ST.
LOUIS KID—
Warners

hell in the
heavens-
Fox

A STORY as fast, breezy and active as James Cagney him-
self puts this one well out in front. Jimmy, a peppery
truck driver, talks up a milk strike in a country town and then,
with his buddy, Allen Jenkins, has to run the gauntlet of en-
raged farmers with a milk-laden truck. You should see Jimmy
sock 'em with his head. Romantic prize is Patricia Ellis.
Definitely prescribed for Cagney admirers.

GOOD acting, and a plot that is different make this a picture
of merit. It's the story of a French air unit, quartered
near the German lines. Warner Baxter, as an American
aviator, tops an excellent cast which includes Russell Hardie,
Ralph Morgan, Andy Devine and Herbert Mundin. Conchita
Montenegro is the only feminine influence in this very mas-
culine picture which can't fail to grip your interest.

GENTLEMEN
ARE BORN—

First National

LITTLE
FRIEND—
Gaumont-
British

FRANCHOT TONE gives his most able performance to date
in this modern story of four pals just out of college, strug-
gling to place themselves in their professions. Nick Foran, as
Smudge is good, and the other major parts, played by Jean
Muir, Ross Alexander, Margaret Lindsay, Ann Dvorak and
Robert Light, are convincing. In spite of its trend of hope-
lessness, you'll enjoy this picture, for it is real.

ADD this one to the list of British productions that are
making American producers look to their laurels. Simply
and convincingly told, it's the tragic story of a child whose
happiness and security at home is suddenly shattered by her
parents' divorce and subsequent court actions for her custody.
Nova Pilbeam, English child star of the picture, gives a beauti-
ful performance.

ANNE OF
GREEN
GABLES—
RKO- Radio

MAN OF
ARAN—
Gaumont-
British

A FAITHFUL and sympathetic screen adaptation of the
novel makes this an enjoyable picture, suitable for the
whole family. The cast is good, with Anne Shirley in the
title role of the orphan adopted by kindly Matthew Cuthbert
{0. P. Heggie) and his sister Manila (Helen Westley). Tom
Brown, Sara Haden, Hilda Vaughn, are all excellently cast.
Well directed. Romance, humor, and pathos well balanced.

MAGNIFICENT in its beauty, here is a saga of the fisher-
folk who live on the rocky Aran Islands, off the coast of
Ireland. The film has no plot. Its purpose is to tell the story
of people who must battle with the sea for a bare existence.
One can easily understand why this picture received the Mus-
solini cup as the most beautiful film of the year.

[ ADDITIONAL REVIEWS ON PAGE 120 ]

'ELLO, Jimmy,
how are you? "

Ask him that
question, and Mr.
Savo will answer, "Oh, I can't
kick, I have a sore foot."

Or, "Just like a stove —
grate!"

Or, "Like a bundle of wood. I'm all broken up."

Then he'll smile ingratiatingly and say, "I'll bet
you won't like me any more — after that last one!"

But you will. All Broadway has, for the past
twenty years. And Jimmy Savo has been making
terrible puns and groan-provoking jokes since he
first learned to talk.

He takes off his hat, looks at it a moment, and
comments, "I like to wear a derby. They seem
musical to me. On account of the band, I guess.
And I wear a fur coat and a palm beach suit most
of the time, too. Then, no matter what the
weather is, I'm always comfortable. By the way,
do you know who wears the biggest hat in the
world? Give up? The
man with the biggest
head!"

At this point
Charlie MacArthur
groans and says,
"That's the sort of
thing Hecht and I
were afraid of when
we asked Jimmy to
play the lead in our
picture, 'Once in a
Blue Moon.' And we
have the guy under con-
tract, too!"

"Aw, that's all right,
Charlie." Jimmy pats his
director on the shoulder.
"Cheer up! I'll sing you a little
song entitled, 'Don't Throw
Spinach At Me; There's Iron
In It!' Oh, you've heard that
one? You don't like it? Well,
then, Charlie, how about the
little ditty, ' She Used To Be A
School-teacher, But She Lost

All the World's

His Stooge

Introducing Jimmy Savo, the
King of Clowns! But don't say
a word. If you do, he's sure
to make a stooge of you, too

By Mildred Mastin

Her Class.' No? Very unmusical
man, Mr. MacArthur. Come on
out, Charlie, I'll buy you a drink."
At the bar Jimmy orders cheer-
fully, "Give me a bird cocktail.
You don't know what it is?
Why, a couple of swallows."
Or, "I'd like a Scotch
drink — a glass of water with
a nickel in it."

During this, Mr. Mac-
Arthur is standing at the

Here's Savo, telling
his horse a joke about
nightmares. A patient
beast, horsie usually
starts kicking after
the third or fourth
pun by Jimmy

"Hello, there, how
are you?" Don't ask
Savo the same ques-
tion unless you're
quite willing to be a
stooge for the little
comedian

On the set of "Once
in a Blue Moon,"
Mr. Savo has just
asked Edwina Arm-
strong a question.
She'll be his stooge
soon

,:jCi

i *a*^*~

other end of the bar,
pretending he isn't with
Mr. Savo, trying not to listen.

"Have anything you want,
Charlie," Jimmy yells at him. "Any-
thing but champagne. I can't bear to
hear a champagne bottle opened. Makes
me homesick. I think of pop."

There's still no response, no recogni-
tion, from Mr. MacArthur. So Jimmy
explains smilingly, " Charlie doesn't like
jokes like that. He's an ex-reporter, you
know. Appreciates old riddles like
what's black and white and red all
over? Don't guess. The answer is, a
■newspaper.

" MacArthur threw a bottle at me —
\'es, an empty one — the day I asked him
•vhat gives more milk than a cow. The
mswer, of course, is two cows. Made
lim sore, too, when I told him I saw
ifteen men all under one umbrella and
ione of them got wet. Charlie said, 'It
nust have been a big umbrella.' 'No,'
explained, 'it wasn't raining.' Made
lim mad. I guess he's jealous. Waiter,
;ive Mr. MacArthur another drink."

*SS8r

Jimmy tells the dove what a

bird cocktail is. And his

feathered friend's answer is

"Cheap, cheap"

But MacArthur's
silent disapproval doesn't
worry Mr. Savo. For, when
Charlie doesn't laugh he is dis-
tinctly in the minority. Everybody else
laughs at a Savo joke. Maybe you
heard it before. Maybe it is a terrible
pun. But with a comical Savoesque
gesture, it's screamingly funny. And
Jimmy, known as the king of pantomim-
ing comedians on Broadway for many
years, can throw a theaterful of people
into paroxysms of laughter simply by
counting to ten!

Strangely enough, Savo didn't know
he was funny until he had been enter-
taining audiences for a long time. Like
W. C. Fields, he began his theatrical
career as a juggler, not a comedian. The
juggling started when, at the age of
eight, he and his brother watched a man
on a New York street corner juggling
lighted torches. Using small stones,
Jimmy tried to copy the trick arjd soon
perfected it. For the amusement of the
youngsters in the block he performed,

[ PLEASE TURN TO PAGE 108 ]

A Starred Christmas

Gift Premiere
From Hollywood

CAROLYN VAN WYCK has turned detective and for the last
few weeks has snooped around Hollywood and New York like
nobody's business, in an effort to forecast what the stars will be
giving for Christmas this year, for the benefit of you, my readers.
My explorations were full of adventure. Around a corner might
come Norma Shearer, glowing like an Autumn leaf, trim and chic in
the smartly tailored street clothes she affects, her eyes twinkling
merrily about a mysterious armful of packages. Or Marlene
Dietrich, her blue eyes and golden hair like sunbeams, lifting those
strange brows slightly when questioned. Or any of those hundreds
of lovely players that make Hollywood the center of the world's
beauty and charm, some of whom we corraled straight to the studio
to pose for you. But to one of my young pets, Rochelle Hudson,
should go the biggest of Christmas trees, the fullest of stockings and
the nicest of gifts, because Rochelle took time and patience to have
a tree decorated as she thinks one should be, to have packages
wrapped and tied to make them look appealing and enchanting as
all gifts should look, whether they happen to contain the rarest of

Joan Bennett has chosen a very new perfume for a

gift. It is a luxurious fragrance, of South Sea island

inspiration, in a flacon of clouded glass with black

and gold lacquer-like cover

A choice in compacts by
Glenda Farrell. In left
hand is a modern, color-
ful affair holding I ip-
stick, powder and rouge.
In right is an enameled
squarish design, richly
colored, double, with
loose powder and rouge.
Grand gift ideas

Rochelle Hudson is wide-
eyed in anticipation of
that Christmas package.
If the contents are as
grand as the wrappings,
Rochelle, all will be very,
very merry. Make your
remembrances look gay
and gifty with holiday pa-
pers and ribbons and
amusing tags

Dolores Del Rio exhibits one of the newest Holly-
wood and Paris fashions, mirror accessories for
your evening bag. Here is a lustrous compact of
inlaid mirrors with down puff

A gift gadget that many a
girl will welcome for her
bag is a purse perfume
case in platinum tone with
red and black accents.
Protects and prevents
spillage, and comes filled
in any of ten favorite fra-
grances. Judith Allen
suggests this gift

Complete treatment and
make-up kits fill your
stockings with delight.
Evelyn Venable, appear-
ing in "Mrs. Wiggs of the
Cabbage Patch," is en-
thusiastic about this com-
pact arrangement contain-
ing everything that makes
you well groomed and
beautiful

PHOTOPLAY'S HOLLYWOOD

BEAUTY SHOP

All the beauty tricks of all the stars brought to you each month

Conducted By Carolyn Van Wyck

perfumes or a practical little thought like hair pins designed for your
special needs and the color of your hair.

So take a lesson from Rochelle, and invest in gay papers, ribbons
and cards to make your thought look like a gift, not a mere package.
The sentiment on your cards is important, because, with a little care
on your part, you can hand the recipient a laugh as well as a gift.
And a happy laugh is always a true gift.

The stars like to give beauty — gifts that are beautiful in them-
selves and that will make you more beautiful. Perhaps this ten-
dency is largely due to the fact that these girls have learned the
value of beauty or what passes for beauty. The compact, for
example, which adds thrill and color to your street or evening bag.
Perfumes, whose inspirational value can never be over-estimated.
Irene Dunne will frankly tell you that the scent of perfume once
saved her from a bad attack of stage fright. Powders, treatment
and make-up kits, bath accessories, the list goes on. So for every
girl confronted with a gift problem, I think I may safely advise, give
beauty. It is lasting, inspiring, beautiful.

HOLIDAY SHOPPING
WITH BENITA HUME
AROUND NEW YORK

After Benita Hume com-
pleted "The Private Life
of Don Juan," we joined
her on a shopping tour.
One of her purchases
was a flacon of pine
bath essence, in a pine-
needle green bottle
dressed up with gold
banding and seal. Di-
vinely exhilarating in
• your bath

Spraying your fabric gloves
with perfume is another of
lenita's ideas. A fragrance
to titivate the imagination
is enclosed in that inspired
flacon studded with crystal
sparks. Very elegant

A quartette of Parisian per-
fumes also snared Benita. A
foursome, all of which you
will adore. That ultra-smart
box in sky-scraper pattern
looks very sophisticated and
charmingly amusing

Fur toques are a new target for your favorite
perfume. It lingers appealingly on fur. Benita
is spraying hers with a fragrance reminiscent
of Paris, from a smart atomizer

WHEN Benita Hume finished "The
Private Life of Don Juan," she began a
vacation, stopping in New York to look over
the shops. From a shopping expedition she
came straight to the studio to show you some
of the things she had bought. You can see
that Benita has a penchant for perfume. I'll
tell you all about her gifts, names, prices,
details, if you'll write to me, or any of the
other ideas shown in these pages.

Benita, in my opinion, is one of the most
beautiful players. Her gray ribbed wool frock
and gray astrakhan toque, with ruby-like clip,
were perfect backgrounds for her rich brown
hair and velvety brown eyes.

All of my pictures seem to fill the bill for the
ladies of our families and acquaintance, young
and not so young, but we've neglected the
men and the very young generation.

One of this season's offerings is a very new
perfume for men. Don't be too surprised. It
is not the alluring, charming essence which we
like to waft as we walk, dance or sit. Instead,
it is essentially masculine and refreshing,
denoting just that note of immaculacy and
thought that we like in our sweethearts, hus-
bands and friends. I think most men will be
pleased to find that world-famous chemists
have at last concocted for them an essence
that is appropriate, masculine and in perfect
taste.

If you have little sisters or nieces running
about, my best suggestion for them is a small
manicure kit. You can buy good ones from
fifty cents up, and I suggest this for an im-
portant reason. The very sophistication and
grown-upness will please immensely, but the
point is that it is the best means in the world

A STOCKINGFUL
OF IDEAS FROM
YOUNG PLAYERS

Florence Rice approves of this combination

that gives you both perfume and atomizing

device in the same package. A romantic

concoction that lingers in memory

J)f overcoming grimy and nail-biting habits,
fhe manicure kit is a perfect idea for the
!;rown-up, too. Even if you go in for profes-
■ional manicures, the kit is necessary and will
k> worlds of good between manicures.
>■ The basic treatment boxes are always wel-
bme. Creams and lotions should work to-
ether, and it is wiser to use especially face
reams and lotions by the same maker.
Sesides, the kit idea often introduces you to
ame grand preparation that ordinarily you
•light not know about or think that you
eeded.

The same is true of make-up combinations.
:ouge and lipstick should be in the same tone.
I number of manufacturers have worked out
erfect tone combinations in these beauty
>uches.

Who ever has enough bath accessories,
owders, eaux de Cologne, bath scenting and
oftening preparations? Any or all are grand
'ft ideas. Most of them come in charming,
y packages especially for the Christmas
ason, that add a note of luxury to your pur-
iase, no matter how simple. June Clay-
orth's choice is worth a second look. A
inning cabinet in white, washable composi-
pn, accented with red, containing just what
ery woman would adore, bath essence, eau de
jlogne, powder and soap. The cabinet sets
hangs, as you wish.

I never pass up the permanent wave idea at
iristmas if you want to go in for a bit more
a gift. Mothers, even grandmothers, espe-
illy adore this gift. It is one of those lasting,
mforting and beautifying suggestions. Or
generous blow to a facial or two or several
and manicures has a very uplifting effect.

An attractive and prac
tical make-up ensemble
is shown by Ruby Keel
The idea of make-up
combination is advisable
because it gives you ha
monious and relatec
tones. A thought for the
girls whose color pref
erence you know or car
choose, wisely. The
will like twins

For the evening, Kitty Car-
lisle, now appearing in
"Here Is My Heart," sug-
gests a good-looking com-
pact and cigarette case com-
bined in black and white.
Sophisticated

Something to get excited
about, thinks June Clay-
worth. A bath-room cabi-
net holding eau de Co-
logne, bath essence, bath
powder and soap. White
and gay red

Bert Longworth

A NOTHER starring combination, Paul Muni and Bette Davis. These two
-^V Warner luminaries will be seen together for the first time in "Bordertown,"
which will be released very soon. You'll easily recall the hilarious performance
of Muni in his previous picture, "Hi, Nellie!" Bette 's latest was "Housewife"

Tom Meighan
Is Restless

The man with the million
dollar personality smile
has an idea. When he has,
then step lively, World!

By Walter D. Shackleton

IF you had one pala-
tial home in the ex-
clusive Great Neck
section of Long
Island, whose broad ex-
panse of lush lawn
fronted on the Atlantic.
And if you had another
in sunny Florida. And
if you enjoyed outdoor
games by day and
bridge by night. And
if you had a host of gay,
intelligent, congenial
friends to enjoy all these
things with. And, more
to the point, if you had
a plump purse to main-
tain such an existence,
would you be apt to get
restless with a desire to
do a gruelling piece of
work? No need to an-
swer. I can readily vis-
ualize the scoffing
snickers the question
caused.

But, believe it or not,
there is such a person.
Thomas Meighan.

Tom is restless again.
Fresh from the success
of his " Peck' s Bad
Boy," he wants to leap

right into another screen story with all that stimulating vitality
and vigor of his.

And what is more, he's going to do it. You can't stop him.
When he gets an idea, you can't stop Thomas any more
than Thomas can stop that Atlantic tide from ebbing and
flowing at the foot of his Great Neck dooryard, or prevent
Florida from getting a devastating gale ever so often. Or, let
us say, no more than Tom can help his great smile from warm-
ing the deepest cockle in the heart of anyone it is turned on.
Meighan's smile is one of the most potent and captivating ever
flashed in this vale. It is a million dollars worth of personality.
And the best of it is its sincerity — good honest value in it.
However — about the restlessness of Mr. Meighan. His rest-

Tom Meighan
again is in Holly-
w o o d — w i t h
another big yarn
in his mind. He
craves action and
he'll get it!

lessness is always
directed. It is
thoughtful, not
hit or miss. No,
indeed. You
don't know your
Tom Meighan if
you as much as
suspect such a
thing. Meighan
gets restless be-
cause he has
plans that de-
mand action ,
plans that have
come to a keen
edge only after
studied shaping
and sharpening.
All right, Mr.
Meighan is going
to get action. He'll see to that. As a matter of fact, as you sit
reading this, he will be in Hollywood getting that action.

As for his plan, the only thing that may be divulged about it
at this time is that it involves the screen characterization of an
internationally known figure. And it is a figure that American
writers, at least, have right under their respective noses — and
have not been able to see.

Yet, Thomas Meighan has seen the possibilities for some
time. And he's got his ideas about the screen development set.
He's even got a writer picked out, his close friend Gene Fowler.
To Tom's mind, Fowler is the only writer who can do justice to
this character. That, unquestionably, is a great compliment to
the ability of Fowler, noted as a [ please turn to page 118 ]

"The Miracle Man" was probably Thomas Meighan's greatest film. It
still ranks as one of the best pieces of cinematic art ever turned out.
But Tom had to organize his own company to produce it. He was the
only one who could see its value. In this scene from it are Betty Comp-
son, Joseph J. Dowling and Tom

Photoplay Magazine for January, 1935

■enfr 1 1

Use all the Cosmetics you wish, but remove them thoroughly
Hollywood's way-guard against unattractive Cosmetic Skin

MANY a girl who thinks
she cleans her face before
she goes to bed does not thor-
oughly free the pores, but actu-
ally leaves bits of stale daytime
make-up to choke them all
night long.

"Heavens! What's wrong
with my skin ?" Soon, to her dis-
may, she discovers the warning
signals of unattractive Cosmetic
Skin— enlarged pores, dullness,
tiny blemishes— blackheads,
perhaps.

Cosmetics Harmless if
removed this way

To avoid this modern complex-
ion trouble, thousands of women

are adopting the Hollywood
screen stars' beauty method.
Cosmetics need not harm even
delicate skin unless they are
allowed to choke the pores.

Lux Toilet Soap is made to
remove cosmetics thoroughly.
Its rich, ACTIVE lather sinks j
deeply into the pores, carries
away every vestige of dust,
dirt, stale cosmetics.

During the day before you
put on fresh make-up, and
ALWAYS before you go to bed
at night, give your skin this
gentle Lux Toilet Soap care. In
this simple way you protect
your skin — keep it so clear
and beautiful!

Photoplay Magazine for January, 1935

«5

too \

Hollywood's Beauty Care

Fragrant, white Lux Toilet Soap protects the
loveliest complexions in the world — and has
for years! 9 out of 10 Hollywood stars use it
to keep their skin exquisitely soft and
smooth. Begin your Lux Toilet Soap
beauty care today!

■

Joan Blonde II

STAR OF WARNER BROTHERS'
"KANSAS CITY PRINCESS"

**.

I use cosmetics, of course!
But thanks to LuxToi let
Soap, I'm not a bit afraid
of Cosmetic Skin

•"THE ear-to-the-grounders tell me, that Hal
Mohr and Evelyn Venable may have called
it off, but they are still lunching together . . .
And for your information, Walter Donaldson,
brand new hubby of Walda Mansfield, com-
posed such tunes as "Blue Heaven" and
"Sleepy Head" . . . John Drew Colt is an ace
squire to Tallulah Bankhead . . . Merle Oberon,
British star, confirms it was just a "trial
engagement" between her and Joseph M.
Schenck . . . Loretta Young will tell you she
and Fred Perry, tennis star, are to wed in
London. But he still has an Australian tourney
ahead of him . . . The sole memento between
Guinn (Big Boy) Williams and Barbara Weeks
is an unused marriage license . . . The Herbert
Mundins have separated . . . The Chaplin boys
call Miss Goddard Aunt Paulette . . . They say
that gorgeous ring Kay Francis is wearing is
the gift of that European noble admirer . . .
Mrs. LeRoy Prinz, wife of the dance director,
told her lawyers that she couldn't stand it any
longer, LeRoy coming home with saber cuts all
over him from duelling ... It lasted just two
months with Onslow Stevens and Phyllis
Cooper . . . Ona Munson has been giving par-
ties for Ernst Lubitsch ... So, Helen Kane,
after all those denials, is going to divorce Max
Hoffman . . . That was an elopement of elope-
ments, that of Barbara Fritchie and wealthy
J. Ross Clark, 2nd — all the way across the con-
tinent . . . Will Morgan is silent when Esther
Ralston says no wedding bells for her . . . Kath-
leen Burke, "The Panther Woman," and her
Chicago photographer husband, Glen Rar-
din, have gone their ways . . . Are the Conrad
Nagels to get together again? . . . The Ginger
Rogers-Lew Ayres wedding has probably taken
place as you read this . . . Eddie Buzzell,
another groom of two months, and Sara Clarke
already have a divorce . . . 'Tis said the Jimmy
Durantes have separated, too . . . Joan Marsh
has switched to Monroe Owsley . . . And the
Roscoe Ateses have split . . . Glenda Farrell and

Cal York Announcing the Monthly

Robert Riskin are now "friends" . . . The tes-
timony in that suit was that Ed Wynn had
hired a woman bodyguard to protect him from
his wife . . . Mervyn LeRoy and Doris Warner
are nearing that event wherein they will choose
pink or blue.

AyfAY ROBSON says the tinted toe-nails,
dyed hair business is old stuff — not at all
the extremes of the present generation. Forty
years ago, May says, she startled Broadway by
wearing a green wig to match a gown of that
color.

"V'OU can look for a new experience when
"The Little Minister" is released. Katha-
rine Hepburn is going to sing.

TWTAE WEST made a good speech
at the Emanuel Cohen party.
Among other things, she remarked
that the jokes in her pictures didn't
need censoring half so much as some
of the jokes that are in circulation
about Mae herself.

T—TERE'S a new one, discovered by Neil
Hamilton. If you are a canary fancier, try
sprinkling paprika on your bird's diet. His
plumage will turn to a lovely red-gold, about
the color of Marlene Dietrich's hair. That is, if
you want your canary to look like Marlene.

"[\TEWEST romance — Mary Carlisle is listen-
ing seriously to young James Blakeley,
from the Broadway stage. Blakeley is the son
of Mrs. Grace Hyde, of Park Avenue, New
York, and once was engaged to Barbara Hut-
ton, five-and-ten heiress, now Princess Mdivani.

Youthful producer and director, Howard Hughes, is taking an important

part in Patricia Ellis' entertainment these days. Here they are dining at

the Trocadero. Toby Wing is another young player who has been seen

with Mr. Hughes

(~)UT on the Warner lot a two-hundred pound
bruiser sits on a sound stage and ties peach
blossoms on a tree limb for Dick Powell and
Gloria Stuart to sing beneath.

Don't make the mistake, however, of saying,
"Whoops, my deah," in his direction.

One electrician still has a black eye to
show for it.

jUTAUREEN O'SULLIVAN, who will marry
John Farrow next Winter, will never forget
her recent trip to her home in Ireland. So over-
come were the natives with Maureen's visit,
they refused to let her drive anywhere. Instead,
they insisted on pushing her car from street to
street.

But the height of their enthusiasm was
reached when Maureen was awakened every
morning by a bagpipe serenade under her

window !

•

•"PHE clothes closets and dressing-room cup-
boards in Adolphe Menjou's new house have
the town abuzz.

His seventy-five suits are in cellophane
wrappers so that Adolphe may select one with-
out removing the covers.

And, for the same reason, the drawers are
of glass.

But what has Hollywood completely stumped
is one large glass drawer which contains, in sol-
itary repose, an Alpine hat.

QREDIT Gloria Stuart with this one
— but some how or other we doubt
whether her argument had as much
effect on the officer as her pulchri-
tude. Gloria was parked in a taboo
zone on Wilshire Boulevard, Holly-
wood. A motorcycle policeman came
up and demanded her driver's
license.

"Why?" said Gloria. "I'm not driv-
ing. I'm sitting."

Whereupon the cop was much con-
fused and said he guessed she was
right.

'"THE Chamber of Commerce of Southern
California is seriously considering making
Sir Guy Standing chief good news spreader
about the land of sunshine and flowers.

When the doughty knight — on location with
"Lives of A Bengal Lancer" — was bitten by
the dangerous "black widow" spider and was
out of the cast for two weeks, he made a special
plea to the Paramount publicity department.
" Don't put anything about this in the papers,"
requested Sir Guy, "it might keep some people
from coming to California."

"HTHE LITTLE MINISTER" riot that was
staged between the soldiery and the towns-
people in that picture ended in several unan-
ticipated casualties. In the melee, Reginald
Denny's white horse reared, causing an extra
armed with a pike to leap, his pike butting
John Beal in the eye.

Katharine Hepburn was so excited she fell
off the make-believe cliff on which she was
perched and sprained her ankle.

So the company is temporarily laid up for
repairs.

"CO, you won't talk, huh?" Charlie Chaplin
says he'll still remain silent in his next
picture.

Broadcast of Hollywood Goings-On!

XX7 C. FIELDS was being
" • bored by an actor who insisted
on pouring his life story into the ears
of the Paramount comic.

" — And then I ran for forty weeks
on Broadway," went on the actor.

"It's a pity they didn't catch up
with you," Fields replied.

A RCHIE MAYO, the^rotund director who
"'Mias megaphoned many of your favorite pic-
tures, went down to San Pedro to a wrestling
match. On the way to the stadium, he was
stopped by a stranger who accused, "Just
because you've shaved off your beard, you
needn't think I don't know you! You're 'Man
Mountain' Dean" (pet wrestler in the movie
colony).

T5 ILL GARGAN arrives home to tell us that

he had a hard time remembering he was in

London. Going into the Savoy for dinner was

just like entering the Brown Derby, there were

so many Hollywood actors and directors

I around. For instance, in one evening there

: were the Charlie Farrells, the Clarence Browns,

Laura LaPlante and Irving Ascher (her new

husband), Ralph Ince, the Leslie Howards — to

mention only a few.

PATIENTLY sitting about in absolute silence
waiting for a baby to doze off in a certain
1 scene for the picture, "Wicked Woman," the
1 entire cast grew drowsy. And when, an hour
; later, the baby finally dozed off, Mady Christ-
: ians, Betty Furness and Charles Bickford had
I to be wakened in order to shoot the scene.

"DING CROSBY'S records, long a favorite
with Joan Crawford, have been replaced on

the Crawford phonograph. A new singer has

taken his place — Joan herself.

Joan has gone into the record making

business with a vim.

And those who have heard the Crawford

records declare them very good, indeed.

T> EMEMBER all the old mollycoddle jokes
about ping pong?
Well, Hollywood has been playing it for
years, its devotees numbering many of the
most he-man stars. But the final masculine
touch came when Max Baer bounded into the
Paramount gymnasium, spied a ping pong
table and reached for a paddle. "This is the
,;ame," said Max. "It helps my timing."

■\X7HENEVER Jackie Coogan
comes on the set where Jack
Oakie is working, Oakie hails him
thusly: "Hello, Bobby— oh, I'm
sorry, you're Jackie Searl, the great
child actor, aren't you?"

Which burns Mr. Coogan very
severely.

"THEY'VE had fan dancers of every variety
— but it remained for Rudy Vallee to fea-
ure a number with twelve two-hundred pound
iotball players as fan dancers!

/\ THEN that battery of twenty one-thou-
sand-watt lights exploded, Marlene Diet-
ch, Josef Von Sternberg, and Marlene's
usband, Rudolf Sieber, came through the
lower of hot glass unscathed. But two
ctras weren't so fortunate.

ANNA STEN wandered around the World's
Fair in Chicago for two weeks — without
once being recognized. This is not so remark-
able as when she returned to Hollywood. She

ical was used. And it went right through Bob's
gown and burned him!

"An antidote, get an antidote!" yelled Bob,
leaping about the set like a mad hen.

A hurried phone call brought no results, the
formula was a secret one, and they refused to
divulge the contents. Bob had to suppress his
howls and finish his scene before he could be
rushed off to the first aid station.

Two young English players who have made splendid progress in Hollywood

are Frank Lawton and Elizabeth Allan. Both are working in M-G-M's

important screen version of Dickens' "David Copperfield"

was met at the train by her husband, Dr.
Frenke, who brought along the entire Sten-
Frenke menage — and still nobody recognized
her!

"KJO one can say Leo Carrillo isn't a thought-
ful man. He has installed a row of large
hooks along the edge of his bar. You are given
an aviator's life belt to put on, and hook your-
self up to the bar. Clever, these Spaniards.

•"THE M-G-M wardrobe went into a dither
when an order arrived for a negligee — for
Bob Montgomery! He wears one in a comedy
sequence with Joan Crawford in "Forsaking
All Others." And they couldn't find one around
the place that Bob could get into. Not many
ladies are built like Bob.

"pOR a comedy scene in a Warner musical, it
was necessary to splinter a violin on the head
of Allen Jenkins. Nine times the scene was
taken, but a tenth was found necessary. A prop
boy handed over another violin. As it was
raised over Jenkins' head, the anguished cry of
"Stop! Stop! It's my violin!" came. The boy,
by mistake, had picked up an orchestra play-
er's fiddle, valued at three thousand dollars!

DOBERT MONTGOMERY wore a lady's

^•dressing gown for a scene in " Forsaking All

Others." It was supposed to catch fire. To

create smoke without flames, a certain chem-

'T'HE story is around about the little extra
who enjoys her gold digging. She calls her
latest "The new buy friend."

VWALLACE BEERY'S new plane is his
fifth in seven years. It only goes two
hundred and forty miles an hour!

r^ARY COOPER'S method to aid charity is
^^novel to say the least. Gary has installed a
coin box on his front door. And it takes a dime
before you can make his front doorbell ring.

T^\0 you get confused in the spelling of movie
"^names? Well, here are some rules then.

It's Alan Mowbray and Alan Dinehart, but
Allen Jenkins.

Rosco Ates, but Roscoe Karns.

Katharine Hepburn, but Katherine DeMille,
and Kathryn Carver.

Adolph Zukor, but Adolphe Menjou.

Merian Cooper, but Marion Dix.

Mae West and Mae Clarke, but May Robson.

Bette Davis, but Betty Compson.

Aileen Pringle, but Eileen Percy, Aline
MacMahon, and Arline Judge.

Hugh Herbert is a comedian, but F. Hugh
Herbert is a writer.

Cary Grant, but Gary Cooper.

Gilda Gray, but Zane Grey.

Francis Lederer, but Frances Dee.

Harry Joe Brown is a director, but Joe E.
Brown is a comedian.

Making a Man's Picture

[ C0N1INUED FROM PAGE 35

the company. There, at last, lay the promise of
a man's world for ten days. A chance for his
cast to lead real "Lives of a Bengal Lancer."

Riding and roughing, and hot sun and harsh
winds and (this would appeal to the primitive
instincts of Messrs. Cooper, Tone, Standing,
et al.) hunting! Women, wives, sweethearts?
Tush — in the thrill of the chase, they'd forget
all about 'em!

So they left Malibu Lake for Lone Pine —
all these rough and hardy, keen-eyed Nimrods.
Gary, with his two big African game riiles,
well oiled. Franchot, proudly bearing a com-
plete hunting outfit and a very super-special

timidated by miles of mountain roads, find
lodging?

Gallantly Sir Guy moved out of his room with
Gary — and there were bunk replacements and
crowding of quarters all down the line — clear
to the cook's quarters.

"I thought Gary might be lonesome," said
Mrs. Cooper. Mr. Hathaway waved a white
flag and admitted defeat.

And that's how Sandra, by force of circum-
stance, was made an unofficial member of the
Bengal Lancers — "But don't you mind me,"
she admonished Gary, "you go right on with
your hunting plans with Franchot."

After waiting two years for a honeymoon, Harry Edington and his wife,

Barbara Kent, are at last in Europe. Harry is Greta Garbo's agent,

and is planning a real screen future for the talented Barbara

30-30 rifle, on which he had recklessly blown
the weekly pay check. Sir Guy laden with
a new set of flies.

Now, Lone Pine is not one of the elaborate
hotel centers, and stars' quarters, on trips like
this, are not always done up in modern finery.
Gary bunked with Sir Guy; Franchot with
Dick Cromwell, and so on down the list.

Every available bed, cot and hammock in
the little town was accounted for — not a spot
to spare.

And then, just as everyone was shoe-horned
into his quarters, an automobile horn tootled
without and a prop boy came running into
Gary's room —

"Mrs. Cooper's outside," he announced.

Director Hathaway fainted.

And, well — you can imagine the havoc.
Where could the undefeatable Sandra, unin-

" We'll go tonight," said Gary, "at two A.M."
"Right," said Franchot. "Stout fellow!"
Now the details of that hunting expedition
remain a little vague. But this much is known:
That Gary and Franchot set out at two o'clock
in the still of the morning, and returned to
Lone Pine at about five-thirty A.M., with
scuffed boots and weary legs, but with nary a
buck — nor even jack-rabbit for that matter.
They got all of one hour's sleep before a bugle
blasted down the hotel halls to shatter their
dreams, and they were very, very tired lancers
when that first day's fight with the Khyber
Pass Afridi tribesmen was over and Director
Hathaway signaled "cut."

"From now on," wisely decreed Nimrods
Cooper and Tone, "our hunting will take place
within easy walking distance of our bunks."
So they shot at tin cans and bottles discarded

from the rolling kitchen, and deposited about
the nearby crags and peaks by "Cracker"
Henderson, Gary's faithful retainer.

Of course, Gary almost had a real buffalo to
add to his collection as a souvenir of the "Ben-
gal Lancers" safari. He and Hathaway, seek-
ing good location sites, came upon a herd of
fourteen American bison roaming a valley.
What's more, they're still there, because neither
Gary nor anyone else had the heart to shoot!

Nor was Gary the only one with a soft heart
in camp. There was Serevan Singh, who had
been a fortune teller on the Strand in Long
Beach, near Hollywood. He heard that Para-
mount wanted Hindus, and being a high-caste
Hindu himself, journeyed to Hollywood.

Serevan was asked to leave his telephone
number at the casting office, so the story goes.

"No phone number," said the Hindu. "Just
think of me, and I'll report for work."

Later, Hathaway and his assistant director
decided they would need several Hindus in the
next day's shooting. Jokingly, Hathaway said,
"Come on, you Serevan! Come elerevan —
tomorrow morning."

And the next morning at eleven o'clock
sharp, Serevan Singh was on hand !

"I heard you call me last night," he said
simply.

Gary and Franhcot and Sir Guy and Monte
and all the gang heard of this wondrous seer,
and wanted their fortunes told. And Serevan,
in the fastnesses of Lone Pine, obliged — until
he came to Gary.

"I am too soft-hearted," he said. "What I
have to tell you, you would not like to hear."

/""'ARY doesn't know what terrible fate lies
^^ahead for him — although Franchot Tone
thought surely Serevan had got his signals
mixed and meant him, after he had been in the
altitudinous location a few days. Every few
steps he took, Franchot had to sit down and
rest.

A newspaperman along with the outfit wrote
a squib about Franchot's height-susceptible
heart, and a Los Angeles paper printed it.

The next day a messenger dashed frantically
into the scene.

"There's an important long distance call
from Miss Crawford at Lone Pine for Mr.
Tone," he panted.

Shooting was abandoned and the company
twiddled thumbs while Franchot made the
three-mile hike back to the telephone.

When he returned, the face of Mister Tone
wore an expression of perturbation — a sort of
sheepish look mingled with wounded pride. An
eyebrow was arched dangerously.

"She was worried about my health! " con-
fessed Franchot. "She wanted me to watch out
and not overdo!"

Not overdo — those words seared a lancer's
soul. " Come on," said Lancer Tone, with grim :
lips, "let's get to work!"

And Director Hathaway, raising heaven-
wards a prayer of thanks for the final defeat of
woman, grabbed his opportunity like a short-
stop grabs an infield drive.

"Let's go on that cavalry charge scene," he
cried. " Come on, Cooper, Standing, Cromwell,
Blue — let's make this a man's picture!"

And that's just what they've done with
"Lives of a Bengal Lancer" — made it a real
man's picture — in spite of the women.

Fun Like Mad!

Miss Hopkins, a romanticist at heart, tells
the little shampooist that she wants to help the
thing along. She'll invite the two of them to
lunch with her at the studio, take them on the
set, introduce them around to everybody.
Then have them to dinner at her home that
night — and on to the Cocoanut Grove. Surely
a build-up like that would snare a proposal.

But what happens? The flier arrives, he and
his girl have a great big fight, and he goes right
back to Panama. Such an ending! I really
couldn't blame the poor thing when she turned
on the cold instead of the hot water and nearly
froze me to death.

[ CONTINUED FROM PAGE 45 ]

was with her director-hubby, Wesley Ruggles,
and then they visited another good man, Frank
Capra. The megaphone wielders were out in
numbers that evening. I noticed the attractive
Charles Vidor, too. Then I spotted George
O'Brien and his wife, Marguerite Churchill,
and Thelma Todd in a black velvet chapeau
that was high, wide and handsome. And in
came her ex-husband, Pat de Cicco, with Sally
Blane. But nothing happened.

I run into Sally at the oddest places. Yester-
day I went to a baby christening and there she
w.as— godmother! Maybe he knew the beaute-

little pinkie, you ought, for if that didn't give
out on me, I'd probably fill sixteen pages more.

However, this, I promise, is the end. Well
almost, for I just must tell you about Nelson
Eddy's cocktail party.

Instead of being a conventional little affair
that does itself up from five to seven, it goes
on till two the next A.M. That gives you a
vague idea.

Of course everyone yelled madly for Nelson
to sing, and he obliged — by phonograph record.
Smart ole Nelson. The point I mustn't forget to
stress, though, is that he's got a truly magnifi-

(~\VER at M-G-M someone got the smart
^ldea of giving Mr. Louis B. Mayer a fine
new office to surprise him when he returned
from Europe with Mrs. Mayer. They worked
night and day. The building sprang up — all
white and many-windowed and modern — like
magic. I took a peek just after he'd arrived
. . . and such flowers! With my all-seeing
eyes, I took in a big basket of lovely white
blossoms from Jean Harlow, and a solid silver
desk clock also from the thoughtful Jean and
her mama to the big boss.

His office is my idea of something pretty
neat. There's a real fireplace of black marble,
not fakey, like most of our Californy fireplaces,
and a big circular desk. Concealed in a small
ante-room is an ice-box and a double electric
■ plate where the man can whip up some tasty
. scrambled eggs. Just think of the fun!

TN case, my lamb, you'd like my opinion on
\ Max Reinhardt's opening of "A Midsummer
Night's Dream" at the Hollywood Bowl, I shall
give it to you in but few words, and they'll all
spell Glamorous. (By the way, I suppose
you've heard that Reinhardt has signed with
the Warner Brothers to produce "A Mid-
summer Night's Dream" and other spectacles
for the screen. Great, eh?)
! I snuggled down into my seat and just let
myself go. The night was serene and warm, the
stars were flung in mad abandon across the
leavens. Around the rim of the Bowl the trees
:'vere outlined like black, marching sentinels,
ind the crowd, including the complete roster of
VIovieland, was expectant and excited.

Then it started. Such a pageant of color.
iuch breath-takingly lovely fairy dances, like
^ou imagined when you were a child. There
A'ere tinkling little bells, and fairy lights, thou-
sands of them, winking off and on in the hills
• henever the fairies appeared. I could go on
,'nd on like this, but maybe I'd better just skip
o the spectacular end — the wedding scene.
)own from the distant, furthermost peaks, to
ine music of "The Bridal Chorus", marched a
low procession of several hundred people bear-
ig flaming torches aloft in the night. The most
>vesome sight I've seen in a long time. My
:art wanted to turn handsprings!

My gentleman friend must have felt that I
;eded a snack after that, for he led me, unpro-
sting and dreamy-eyed, to the newest night
>ot, the Trocadero. Wheeeeee! What a place!
II red and white and Continental and so gay.
inches of celebs were all over the place.

Pola Negri, with the dead white face and
ick gown she usually affects (and so success-
;Uy) was at a table with my hero, Ramon

>varro. Arline Judge, who is so cute and pert,

Sleep-'n' Eat, RKO-Radio's rival for Fox's Stepin Fetchit, about to

fHtte£U,P£1SpaY in Wheeler and Woolsey's "Kentucky Kernels "The

dusky lad's real name is Willie Best, but he's been tagged "Buckshot"

ous Sally was holding him. The lucky kid! Any-
way, he didn't let a single squeak out of him
the whole time.

YOU'VE been pleading for June Knight and
I've always disappointed you. I'm a bad
girl; I forgot to tell you how I went down to
visit her, one lovely, warm day, at the Santa
Monica house of her sweetheart, Paul Ames.
(He's Raquel Torres' brother-in-law.) I found
her in a scanty bathing suit, which she filled
very nicely, my deah. Regarding her toes,
which she had just lacquered a dead white and
which were swell with her mahogany-color tan,
she changes them to any old hue, any old time.
Such antics!

Such a chatterbox. Don't you ever get tired
of listening? You ought to be grateful to my

cent voice. And when we hear him on the
screen, we're going to hear something.

Everyone in town was there. I can't begin to
tell you the list, but I found me a lovely young
man, and got the exciting idea of inviting him
off to a secluded corner of the garden to see if
love would bloom. But alas for the plans of
mice and men . . . and Mitzi. While trying to
compose enticing words, I happened to remem-
ber the famous mistake of Ellen Terry on an
important first night. What, you don't know
the story? Well, at the play's biggest moment,
Miss Terry was supposed to hold her sweet-
heart's hand and seductively croon: "Come,
let us seek a cosy nook." But what she actually
said, was: "Come, let us seek a nosey cook!"
Fun like mad we have in Hollywood !

MITZI.

Pert's Reducing Vacation

TITIAN-HAIRED Pert Kelton went
to an idyllic spot for a vacation —
Catalina Island. But there was no rest
for Pert. She was out to take off pound'
age. One of the methods was hauling a
boat into the water. Try it sometime.
You'll vow it is tied to a buried anchor.
Her riding, however, was more fun. But
the best time was when she was allowed
a few minutes to sit and knit. And,
believe it or not, that was the sole relaxa'
tion Pert got!

Lazarnick

^NGLISH Pat Paterson came to Hollywood with a
-'rich background of cabaret-radio-film-and-stage
me in London. In less than a year, she has made four
ctures. "Lottery Lover," for Fox, is her latest.
|it is golden blonde, a talented singer and dancer

For Your Christmas Dinner

As capable a cook as she is an actress, Margaret Sullavan bastes her huge

turkey with pure olive oil, thereby enriching the flavor of bird and gravy and

giving the white meat a fine texture

Some new, some old
suggestions, but all
delicious additions
to tbe festive meal

beating well the following — }/% cup of
salad oil, IJ2 tablespoons of lemon
juice, a pinch of salt, a few grains of
paprika, and 1 tablespoon of melted
currant jelly.

Onions will, of course, be served.
But why not try glazing them as a
change from the creamed ones.

Peel small boiling size onions.
Melt 2 tablespoons of butter in a
large iron skillet, and place onions in
it, right side up, crowding them
closely but having only one layer.
Sprinkle 1 cupful sugar over them,
and salt and pepper. Cover closely
and cook over a slow burner until the
onions are transparent.

Old-fashioned Pumpkin Pic should
be on every Christmas menu. So,
here we go on the ingredients:

1 ) 2 cups of cooked pumpkin

1 cup of rich milk

Y2 cup °f sugar

1 teaspoon of cinnamon
Y2 teaspoon of allspice
34 teaspoon of mace

2 eggs, well beaten

1 tablespoon of butter
Pinch of salt

BASTING with olive oil wrorks wonders on the turkey
itself, but without a properly blended, taste-tempting
filling no holiday meal can be quite complete.

Chestnut Stuffing is perhaps our wisest choice. Besides
being a perfect accompaniment, it imparts a delicate tang to
the meat while roasting. Here, as in every cooking venture,
measuring accurately and carefully following" directions will
pay big dividends. Now for the method:

Loosen the shells and inner skin from 1 quart of large chest-
nuts by cutting a gash on the flat side of each nut, shaking them
in a little melted butter, and setting them in the oven for 10
minutes. Remove shells, and boil in salted water until tender.
Drain and press through a potato ricer. Add 1 pint of dry
breadcrumbs or an equal amount of hot mashed sweet potato,
1 egg, }<i cup butter, 1 teaspoon salt, some chopped parsley, and
the turkey liver, chopped finely. A little onion and lemon juice
and pepper may be added. Mix all ingredients well, and if you
prefer dressing moist, add soup stock or cream.

Fruit Salad made with 3 oranges, 3 bananas, J 2 pound
Malaga or seedless grapes, J>2 cup chopped pineapple and the
juice of 1 lemon helps balance a hearty dinner.

An excellent fruit salad dressing is made by combining and

Place the pumpkin, milk, sugar,
salt and spices in a double boiler.
After the mixture is well blended and

heated through, add the beaten eggs and stir until it thickens.

Then add butter and pour into a crisply baked crust while hot.

Place in a moderate oven and bake the pie slowly until the

tilling is firmly set.

If you would like to depart from custom and vary your
dessert from the usual pies and plum pudding, why not serve
the typically English dessert — a Trifle?

This requires 1 pound each of lady fingers and macaroons,
Y2 pound each of shelled almonds and crystallized cherries,
halved, 1 pint each of fruit juice and hot milk, 1 quart of
whipped cream, 2 tablespoons of flour, 1 well beaten egg, and
Yi cup of sugar.

Soak macaroons in fruit juice, blanch and chop the almonds.
Make a custard of the sugar, flour and well beaten egg. Add
gradually to the hot milk in double boiler and cook until thick,
stirring constantly. Cool, add the almonds and half of the
whipped cream.

Line a large glass bowl with the lady fingers, add the cream
custard mixture and the macaroons, placing the cherries all
through the bowl.

Cover with the rest of the whipped cream and decorate with
cherries. Serves twelve.

Photoplay Magazine for January, 1935

Locked out of her own car twenty miles from home . . .
Car keys slipped out of careless handbag.

you get when your pocketbook opens and the
contents spill out or are lost.

Car keys lost!

POCKETBOOK
PANIC*

cures this star!

Katherine
deMille

insists on handbags with
TALON Fastener

REG. U. S. PAT. OFF.

convenience and security!

In the film world, where every detail of the costume
must be carefully considered, the stars insist on
handbags with Talon Fastener convenience and
security. They find that Talon-fastened bags set
the pace for style and beauty, can be depended
upon for quality, and assure safety for handbag
contents.

The Talon Fastener used on handbags is a light-
ning-like streak of usefulness that operates smoothly
and easily, and closes snugly and securely. And
this trim-lined device contributes to the smart
tailoring of the handbags it is used upon.

Talon-fastened handbags for morning, noon and
night, in a wide variety of styles and at all prices,
await you in your favorite store.

When you buy, look for the name TALON on
the slider. It's your guarantee of quality, as well as
security and convenience.

HOOKLESS FASTENER CO.. MEADVILLE, PA. • NEW YOKE • BOSTON
CHICAGO. PHILADELPHIA • LOS ANGELES • SAN FRANCISCO. SEATTLE

Photoplay Magazine for January, 1935

Books That Every Book Lover
Will Treasure

HpHE Economy Educational League is performing
a service of great value to the booklovers of
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Of the books listed on this page all of those offered
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please send me
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! 1 2 3 4 5

I Street . ... 1

the hair at
ces a new
d is dis-
ir texture
reak from

debutante

rmal wear

A HOLIDAY COIFFURE

HAVE reserved for this page a very special
Christmas gift, one for yourself. You didn't
expect that, did you? But I feel that we
jiould all do something for ourselves at this
:ason that makes us look, and therefore feel,
appier and lovelier.

i One thing that you can do that will immedi-
tely transport you is to change your hair.
hange of coiffure is a ritual with Hollywood,
id it might well be a ritual with many of us.
othing is so tiresome to ourselves — and
hers — as the same hair arrangement day in
id day out. Yet it's a very popular and con-
ant habit with many of us.
With holiday parties in mind, I show you a
•autiful arrangement for evening. From
,tne Lang's photographs, you can even admire
r hair as well as its dress. Now this coiffure
ould be done for you by a hairdresser, and
>u must have at least a long bob to begin
th. Any competent hairdresser should be
le to follow the design if you will take these
:tures with you. Or if you have a good per-
inent or natural curls, a little homework
ght be a great success.
Hair style trends are up, up, up. To my

By Carolyn Van Wyck

mind, evening is the time for the climbing
coiffure, because it is neither appropriate nor
practical for most of our daytime affairs. But
every girl who can should take advantage of

"DEAUTY at Bedtime," leaflet
'-'form, tells a few, simple steps
that every girl should follow each
night in the interest of good looks.
It budgets your time, tells you what
to use and how. You may have it as
well as advice on any beauty prob-
lem by writing to Carolyn Van
Wyck, PHOTOPLAY Magazine, 221
West 57th Street, New York City,
enclosing a stamped, self-addressed
envelope for reply. Other leaflets
at hand, too, covering skin, hair,
nails and make-up.

these charming upward styles for evening.
They poetize you. They add the frail beauty
of a Gainsborough portrait, invest you with
qualities that are often fatal to your escort.
The modern evening coiffure is decidedly
romantic. Through our highly piled curls walk
the ghosts of Marie Antoinette, Catherine the
Great, and other grand, romantic ladies who
have made history.

High curls do something else for you. If you
are even fairly young, with reasonably good
facial contours and nice ears, this coiffure, with
the right touches of make-up, seems to sculp-
ture, dramatize and accent all good points.
Let's take advantage of this charming style,
while we may.

Recently I met Hedda Hopper, her usual
vivacious, charming self. She was enthusiastic
about a new coiffure just created for her. Her
comment was, " It makes me feel years younger
because it all goes up."

For decoration of the evening coiffure I sug-
gest a ribbon, a tiny clip or a real flower. With
a high coiffure, especially, you have no idea of
the allure of one lovely flower, such as a gar-
denia or carnation among your mounting curls.

Here's More Perfection for You

[ CONTINUED FROM PAGE 71 ]

You must remember that the waistline is the
center of your body and that if you are to have
any grace of movement at all you must keep it
supple. The best way to do that is to turn on
the radio to a snappy tune, put your arms
lightly above your head and hop, skip and
jump around the room in a little two-step.
Don't imagine that you look silly. Do it! It's
good for you ! And all the time keep swaying
and bending at the waist. This, too, will
flatten that back muscle.

TTHERE'S just one word that describes the
perfect abdomen. That word is "flat."
Joan Crawford comes nearer to having the per-
fect stomach than any girl in pictures. She
knows how to stand. Her muscles are strong
in her stomach, so her hip-bones don't stick out
like razor blades.

I give Joan three claims to distinction. She
is a grand actress. I saw her not long ago in
" Chained," and thought she was swell. She is
a good scout. Everybody who knows her says
that. And — she has a flat stomach.

You mustn't have any rolls or bumps or
lumps. Here's how to tell whether or not your
stomach is right or wrong.

Stand in front of the mirror without any
clothes. Put a ruler down the front of your
stomach. Is it flat? No? Then get right to
work.

First of all, walk straight and sit straight.
Don't slump down on your back-bone. Sit the
way you're supposed to sit. You've got to
make your stomach muscles strong. The way
to do that is to lie on the floor on your side,
with your arms above your head. Stretch your
arms so you can feel your stomach muscles
pulling. Without changing the position of
your arms or legs, roll over on your face, mak-
ing sure your stomach touches the floor. Roll

back and forth like that, but at the same time
progress along the floor, hitching yourself along
on your stomach. It will take away inches and
make you nice and flat.

And every day use the ruler to see how
you're progressing. Use the ruler after meals,
too, because if your stomach muscles are strong
enough, you won't bulge after a heavy meal.
But, listen, I don't want you to eat heavy
meals. Remember, exercise alone won't give
you the perfect figure. I hope you have
sense enough to stay on my diets all the time.
And you can never be perfect until your
stomach is flat and firm.

Even you mothers who have had several chil-
dren don't need to give me any alibis. You can
make your muscles tight, too. You expectant
mothers should insist that you are bound
tightly after your baby is born, and the third
day after, you should begin taking exercises in
bed. Yes, I mean it. Lift your heels off the
bed, keeping the knees straight. Lift the heels
about four inches. Then lift your head off the
pillow. Do this seven or eight times at first.
Increase day by day. Feel how your muscles
tighten.

"NJOW I want to show you the perfect hips.
It makes me sort of sad, too, since for years
I pointed to Connie Bennett as the girl with
the most perfect hips. But she's let little
Margaret Sullavan swipe the title from her.
Connie, I'm ashamed of you! The thing that
makes me sad is that you know better, because
I taught you how to have beautiful hips.
You'd better get back to the old exercises and
diets that I gave you, baby.

So, while Connie is getting her hips back
where they were, I want you girls to take a look
at Margaret Sullavan. Gosh! what beautiful
lines! There are no bulges and no bumps, yet

every bone is nicely covered. She is lean, yet
softly rounding and appealing. Oh, Connie,
Connie! Don't you remember that night at
Joe Kennedy's when Gloria Swanson and
Laura Hope Crews and I were there, and I told
you that your hips were your greatest advan-
tage? Please, Connie, get back that beautiful
line.

Very few people are fortunate enough to
have hips equally high. One is very apt to be
a little higher than the other. This usually
comes from a slumping walk in childhood. If
you're afflicted that way, the thing for you to
do is to squeeze off excess flesh from the higher
hip. Then both will have the correct pro-
portion.

And listen to the exercise that will give you
hip perfection. Stand straight, feet slightly
apart. Raise your arms above your head.
Stretch your fingers. Turn your body so that
without moving your feet you are facing side-
ways instead of straight ahead. Now, with
your body in this twisted position, bend over
and touch a spot on the floor about two feet
from your feet, with your finger-tips.

Isn't that great? You can tell when you're
getting results — you feel your hip muscles be-
coming tense. Also don't forget that eating
too much meat puts fat on the hips.

And, please, please — well, I won't beg you,
if you haven't got sense enough to do this I
don't want to bother with you — remember to
walk correctly. Don't slump, or stand with
one hip higher than the other. Take your
exercises. Eat right. Sit and walk right, and
before you know it you'll be giving all these
Hollywood girls a run for their money.

But I'm not through yet. Next month I'm
going to describe perfect arms, legs, hands and
feet. And come on, you girls, jump right up on
the beauty band-wagon!

Answers by Sylvia

Dear Sylvia:

I was having an argument the other day with
a friend of mine who said that if you took exer-
cises you didn't have to diet, and if you dieted
you didn't have to exercise. It didn't sound
right to me, so I said I'd ask you how about it?
Mrs. R. McL., Providence, R. I.

Tell your friend to read my articles and
book. That will settle the argument. Of
course, she might use a little common sense,
but I suppose that never occurred to her. Ex-
ercise and diet go hand-in-hand. One is use-
less without the other. What could be more
stupid than exercising systematically and then
eating your head off? If you want a beautiful
figure you've got to work for it, and you've got
to do everything I say.

My dear Sylvia:

My fingers are very blunt and stubby from
using the typewriter all day for years. Is there
any way I can overcome this defect?

L. L. D., Cincinnati, Ohio

It's simple. Every day, as often as you
think of it, squeeze the tips of the fingers of one

MAYBE some of us can't be per-
fect, girls, but we can make our
selves something better than we are —
healthier, more attractive. I've
helped many, many women to over-
come their faults, and I can help you
banish yours, be they large or small.
No obligation. Just address your
letter to Sylvia, in care of PHOTO-
PLAY Magazine, 221 West 57th
Street, New York City.

SYLVIA

hand with the thumb and forefinger of the
other, tapering them toward the end. You can
do this a hundred times a day, if you will, and
you will be amazed at how quickly your finger-
tips take on a nice, tapering shape.

Dear Sylvia :

I seem always to have cold hands and feet.
I feel sure that this is because my circulation is
bad. I appeal to you to help me.

B. R., Lander, Wyo.

Your circulation won't be bad if you'll go on
a big health campaign. Send a self-addressed,

stamped envelope for my exercises and diets
that will improve your circulation. In the
meantime, here's a little tip for you. Never sit
with your legs crossed. Always sit upright.

Dear Sylvia:

I am a mere man and, I suppose, shouldn't
be writing to you, but I'm quite fat and I'd
like to know if your diets and exercises are
good for men as well as women.

B. N., Brooklyn, N. Y.

Well, hoorah! Another man has gotten
some sense. You bet my diets and exercises
are for men as well as women, and if you fat
boys could hear some of the remarks that
women pass about you, you'd be more eager to
reduce. Come on, boys and men, why don't
you string along on the reducing wagon? Study
my diets carefully, practice my exercises. I
guarantee that anybody — man, woman or;
child — who follows my system can lose fifteen'
pounds a month. So go to it, and let me know
how you get along.

For others of my male audience who are
underweight or nervous, my diets and exer-
cises build you up or relax you, as you need.

My dear Sylvia!

Will you kindly tell me some healthful fooc
which will put weight on my body?

K. W., Los Gatos, Calif.

Hominy with ripe, sliced bananas, thick
soups, chocolate, rice or bread pudding, cup
i ustard, avocados, butter, spaghetti — these are

I a few of the fattening foods which are very
healthful. Hut I suggest that if you want to

] add pounds you send for my building-up diet.

Dear Sylvia:

kindly tell me what to do for fallen arches.
Is there some exercise one can take that will
help?

D. R. W., New York City

You bet there is! Don't T always have a cor-
rective exercise for handicaps? Stand straight,
\\ i tli your feet tight together. Lean as far back
on your heels as you possibly can, and then
1 1 pon you r toes. Be sure to do this for ten or
fifteen minuteseverysingleday. Alsobecareful
i f your shoes. Don't wear flat heels except
for such sports as tennis. Use high heels for
evening, but be sure you have a medium heel
inr street wear. And don't be vain about your
'feet. Be sure that your shoes are plenty long
rnough.

Fhotoplay Magazine for January, 1935

KGOL

Edward G. Robinson is in his ele-
ment, hunting. Eddie enjoys his
leisure all the more, because he gets
so little of it

MILDLY MENTHOLATED

// CORK Til

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Tuck a carton of KGDLS (200 cigarettes)
into any smoker's stocking and listen to the
grateful "O-ohs!" and "A-ahs!" you get.
The mild menthol cools the smoke and
soothes the holiday-harried throat, but the
fine blend of Turkish-Domestic tobaccos is

fully preserved. Cork tips save lips. Coupon
in each package (like a touch of Xmas all
year long!) good for nationally advertised
merchandise. Send for latest illustrated
premium booklet. (Offer good in U.S. A. only).
Brown & Williamson Tobacco Corp., Louisville, Ky.

SAVE COUPONS FOR HANDSOME PREMIUMS

Write jor jree illustrated booklet

Ask The A

nswer ivian

JANE WYATT is the outstanding player in
the Answer Man's mail bag this month.
Movie-goers who saw her as Dinny in "One
More River" went scurrying home to write let-
ters asking about her. And here's the low-down
on the cute little miss who made such a hit in
her very first picture.

Jane was born in Campgaw, N. J., August
12, 1912. At nineteen she left Barnard College,
where she had studied for two years, and
started out on a theatrical career. In addition
to a great deal of work in stock, she appeared
in such plays as "Tradewinds," "The Vinegar
Tree," "Give Me Yesterday," and succeeded
Margaret Sullavan in the cast of " Dinner At
Eight " when Margaret was called to the Coast,
to appear in pictures. Last year Jane was
appearing with Lillian Gish in "Joyous Season"
when Carl Laemmle, Jr., saw her and gave her
a contract with Universal. This contract per-
mits Jane to spend part of the year in pictures
and the balance on the stage.

Jane is 5 feet, 4 inches tall; weighs 118 and
has hazel eyes and dark brown hair. She is an
excellent tennis player, swimmer and horse-
woman. She will soon be seen in the leading
feminine role in Charles Dickens' "Great
Expectations." At this writing she is appear-
ing in a Broadway play "Lost Horizons."

Peggy Ann, Buffalo, N. Y. — -Yes, Josephine
Hutchinson is a newcomer in pictures. "Hap-
piness Ahead" was her first picture. Her next
is "The Right to Live." Josephine was born in
Seattle, Wash., October 12, 1909. She is 5 feet,
43^ inches tall; weighs 1 10 and has red hair and
golden brown eyes.

Lorraine Porter, St. Louis, Mo. — Sorry,
I couldn't make the December issue with your
answers. Fay Wray was born in Alberta, Can-
ada on September 15, 1907. She is 5 feet, 3
inches tall; weighs 114 and has light brown
hair and blue eyes. She has three brothers and
one sister. Fay entered pictures in 1924 and
was made a Wampas Baby Star in 1925. She
has been married to John Monk Saunders
since June 1928. Fay recently became a citizen
of the United States. Frankie Darro was born
in Chicago, 111., December 22, 1917. His real
name is Frank Johnson. He has brown hair
and brown eyes. Still growing so I can't give
you his exact height and weight. His next pic-
ture will be "Racing Luck."

Anna Critie, New York, N. Y. — You can
write to both Alice Faye and Lew Ayres at the
Fox Studios, 1401 N. Western Ave., Holly-
wood, Cal.

Doris Hutchixgs, Detroit, Mich. — Mar-
garet Sullavan's next picture will be "The
Good Fairy." John Beal is her leading man in
this. Margaret is twenty-three years old and
celebrates her birthday on May 16. George
Raft did the dancing in "Bolero."

Amela Erikoriax, Kingsburg, Cal. —
Shortage of space hinders me from listing the
complete cast of "Back Street." However, if
ymi send a stamped return envelope, I will be
pleased to send you a cast. The principals in
the picture were Irene Dunne, John Boles,

100

Jane Wyatt, who left school to go
on the stage, is now gathering
laurels on the screen. Uni-
versal's star bet, her recent
screen hit is Dickens' "Great
Expectations"

Redd This Before Asking Questions

Avoid questions that call for unduly long an-
swers, such as synopses of plays. Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side of the paper.
Sign your full name and address. For a personal
reply, enclose a stamped, self-addressed envelope-

Casts and Addresses

As these take up much space, we treat such sub-
jects in a different way from other questions. For
this kind of information, a stamped, self-addressed
envelope must always be sent. Address all inquiries
to Questions and Answers, Photoplay Magazine,
mi W. 57th St., New York City.

George Meeker, June Clyde, Doris Lloyd and
William Bakewell.

Margaret J. Anderson, Minneapolis,
Minn. — Joan Crawford is 5 feet, 4 inches tall
and weighs 115 pounds. She was born March
23, 1908. Her next picture will be "Forsaking
All Others" with Clark Gable and Bob Mont-
gomery.

Margaret Burke, Baltimore, Md. — Frank
Lawton, whom you liked so well in "One
More River" was born in London, Eng.,
September 30, 1904. He made his stage debut
in 1923. Entered British films in 1929. "Cav-
alcade" was Frank's first American picture.
His next is " David Copperfield."

Mildred Corcoran, New London, Conn.
— Millie, it was Sir Guy Standing who played
the role of the Admiral in "Hell and High
Water."

Emilie Cooke, Santa Monica, Calif. —
Colin Give was born in St. Malo, France,
January 9, 1900. He is 6 feet tall and has dark
hair and gray eyes. Made his stage debut at
the age of 19.

Althea Ashby, New Orleans, La. — You
can't fool this old Answer Man Althea, by say-
ing that Photoplay has never printed any
pictures of Franchot Tone. In April, 1933,
we ran a lovely color portrait of Franchot and
in August, 1933, a rotogravure of him. In
November, same year, we published a story
"I'd Rather Know Joan Than Anybody Else"
says Franchot Tone. Franchot was born in
Niagara Falls, N. Y., on February 27, 1905.
He is 6 feet tall, weighs 165 and has brown hair
and hazel eyes. He graduated from Cornell
University. Appeared on the stage prior to
going into pictures in 1932. Among the plays
he appeared in were "Age of Innocence,"
"Pagan Lady," "The House of Connelly,"
and "Green Grow the Lilacs." His latest
picture is "Straight Is the Way" which John
Gilbert made as a silent under its original title
" Four Walls." Next Franchot will be seen
in "Lives of a Bengal Lancer."

Mary Helen Eads, Monticello, Ky —
The lad you refer to in "Sky Bride" was Tom
Douglas. Nick Foran was the one you liked
so well in "Stand Up and Cheer."

J. Y., Birmingham, Ala. — The two ladies
who appeared in the picture in the upper left-
hand corner of page eight in the April, 1931,
issue of Photoplay were Greta Garbo and
Dorothy Sebastian. It was an off-stage shot
from "A Woman of Affairs."

Marian Orth, Milwaukee, Wis. — Unless
he has been holding out on me all these years, :
Tom Tyler is still fancy free. Joel McCrea and
Frances Dee were married October 20, 1933.

Edmond Bochard, Nauroy, France —
Tom Mix has deserted pictures and is with a
circus. Mary Boland was born on January
28, 1892 and Randolph Scott on January 23,
1903.

Photoplay Magazine for January, 1935

IOI

Dorothy Mackay, Highland Park, Mich.
— Elissa Landi was born December 6, 1906.
She is 5 feet, 5 inches taJ; weighs 119 and has
light auburn hair and green-gray eyes. Her
latest picture is "Enter Madame."

Paddy, Dayton, Ohio.— The little lady
who did the solo dance in "Too Much Har-
mony" was Grace Bradley. Gracic is a
Brooklyn girl, born and educated there. And
was she a smart youngster! At the age of six
she was a child prodigy and gave many piano
concerts in New York and other cities. At
sixteen she decided to take dancing and
dramatic lessons. Her first dancing engage-
ment was in "Ballyhoo." Then came the
"Third Little Show" and "Strike Me Pink."
Paramount executives saw her, a screen test
followed and Gracie reached Hollywood a
year ago. She is the lirst actress in her family,
although one of her grandmothers was a
dancer. She is 5 feet, 2 inches tall, weighs 108
and has red hair and hazel eyes. She is of
French, German and Irish descent. Her
hobbies are music, fencing and horseback
riding. Harold Lloyd chose her for one of the
• feminine roles in his new picture, "The Cats-
j paw." Her latest picture is " Redhead."

R. R. O., Racine, Wise. — How could you
: let anyone spoof you like that? Of course
your pal Bing doesn't wear a wig.

Eleanor Werntz, Savannah, Ga. — David
Manners hasn't forsaken the screen. Since
appearing in "Torch Singer" he has been in
"Roman Scandals," "The Black Cat" and
"The Great Flirtation." His latest is "Moon-
stone."

Mrs. Edith Walker, St. Louis, Mo. — I

am always delighted to supply information

for scrap books. Gene Raymond, was born in

! New York City, August 13, 1908. He is 5

| feet, 10 inches tall; weighs 157 pounds and has

blonde hair and deep blue eyes. His real

I name is Raymond Guion and he is of French

' descent. Gene was educated in private schools

! and appeared on the stage prior to entering

pictures in 1931. His favorite recreation is

horseback riding. If you will send me a

return envelope, I will give you a list of his

pictures.

W. J. McMahon and Gang, St. Peters-
burg, Fla. — Shirley Temple's latest picture
is "Now and Forever" with Gary Cooper and
Carole Lombard. Next she will be in "Bright
Eyes." Shirley was born in Santa Monica,
Calif., April 24, 1929. She has golden hair and
hazel eyes.

FASHIONS

No man can escape them
and no woman wants to.
You il find this issue of

Photoplay

full of news about

forthcoming styles

and fashions.

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Romance With an Angel

CONTINUED FROM PAGE 37

Mary Forbes, coming to dine with her
son one night, had big news. "I saw a
charming girl today at the Gleasons. Really
charming. I think you two should meet. Her
name is Heather Angel . . ."

"I have met her, mother! Oh lord," groaned
Rate, "why didn't I break that date at the
dentist's and go to the Gleasons?" Mrs.
Forbes, fishing thoughtfully for a cherry in her
fruit compote, smiled slowly.

It was a certain violently black, star-emptied
midnight when he did run into her. They
were coming in opposite directions through the
entrance of a popular night club. She paused.
He turned. Neither liked the other's com-
panion. The air vibrated, changed to a chilly
blue.

"Why on earth did she pick him to go out
with?" thought Rafe.

"He's here with that woman," thought
Heather.

This was the end between them. The
definite finale. They'd forget —

But it was queer how, for people no longer
interested in each other, sleep eluded both of
them that night. How Forbes stormed and
raged and ranted to his genial man Friday the
next morning.

"Imagine letting that blankety-blank tag
around after her! There ought to be a law
against such men! She ought to know better.
She—"

TT took the British navy to bring them to-
gether. At least a part of it.

When His Majesty's ship, Norfolk, steamed
into San Pedro harbor, flags flying, a slim,
shining greyhound of the deep, you could
hardly suspect it of doubling for Cupid.

"Boom!" went the great guns in salute.

"Boom!" went that mischievous little fel-
low's bow and arrow.

Rafe saw her as she stepped on deck. Lan-
terns were strung along the gleaming length of
the decks. There was the exciting medley of
gold-braided uniforms, beautifully gowned
women, the gaiety a warship takes on when it's
turned into a flower-trimmed ballroom. "I'll
Close My Eyes To Everything Else If You'll
Open Your Heart To Me," played the band.
The Admiral, Sir Reginald Plunkett-Ernele-
Erle-Drax, was bowing over Heather's hand.
Who was that wdth her? Ah — relief — her
mother!

Luck was with him tonight. He'd brought
his sister, Brenda.

You don't have to worry about a sister,
not when she's already surrounded by a half
dozen young blades.

By a little expert maneuvering, Rafe man-
aged to get Heather alone for a moment.
" Have you seen the shore lights from that nice
sj nit up forward?"

"Yes," acknowledged the littlest Angel,
"about eight officers have shown it to me al-
ready!" And suddenly they were laughing,
looking deep into each other's eyes, drifting . . .

He finessed a dance with her, although by
that time Heather was having serious Admiral
trouble. She'd forgotten which dances she
had promised him. It was a waltz, dreamy,
lilting. . . . She was so exquisite and dainty
and young. Breath- takingly young. "I'm
having a buffet supper for the officers at my

102

house tomorrow night. Can you come?" His

arm tightened about her.

" Yes, I'd love to," murmured Heather

against his coat lapel.

"You're so blessedly sweet. You're — "
"I believe," said the Admiral pleasantly,

"this is my dance!"

"D AFE'S house is an English Norman affair
swooping up a hillside in the gentlest
fashion possible. A rather glorified bachelor's
quarters, surrounded by sweeping lawns and
trees that were young when the Spanish con-
quistadors arrived. A gray parrot, the gift of
a sea-wandering friend, holds forth at the

Leo Carrillo, the likeable" bad man"

of many pictures, proudly displays

his honorary sheriff's badge, so we

suppose the country's safe now

entrance. "Hello, darling!" he chirped as
Heather entered.

"He's speaking for me!" said Rafe, coming
to greet her.

It was good fun, that party. Sea stories
were spun until you could fairly feel the spin-
drift off the bow and the roll of the deck. Rafe
made an exceptionally fine host — considering
the fact that he kept his weather-eye constantly
fixed on an Angel. And like all good angels,
she led the singing. In the garden, that was,
along about the pre-daybreak hours. No one
thought of departing.

There were rollicking navy songs to be
sung, three verses to a song, and the purple
hills echoed with them. Laughter, clever toasts,
a lusty chorus.

It was two o'clock the following afternoon
that Rafe awakened. His man was peering
around the door in a slightly perturbed state
"What shall I do, sir? There are two ladies

sitting out on the lawn." Forbes made a
Nurmi-like leap for the window. There, calm
and quite unconcernedly chatting, were Heath-
er and her chum, Pat Paterson. "We're driv-
ing down to the beach," they told him when he
put in a hurried appearance. "We thought
Mr. Forbes might be lonesome for a breath of
salt breeze."

Why, come to think of it, Mr. Forbes was!

Now Hollywood was still ruminating over
the sudden Pat Paterson-Charles Boyer nup-
tials. And Pat was in that state of enthusiasm
peculiar to brides, where she wanted to see the
whole world happily married. Here was a
chance to help the good cause along! Not
that it needed helping.

In ecstatic mood, Heather reached for a
flower on a nearby bush as they slowed up for
a stop sign. It was a nice little flower — only it
happened to have a hornet on it. He thor-
oughly resented being a captive in a slim white
hand. It didn't take him long to make the
fact known in drastic fashion. Heather
screamed. She backed against Rafe's shoulder
like a bruised child.

And Rafe — what does any young man do in
a case like that? Anyone knows that the
general first aid treatment includes consider-
able hand-holding.

"Oh," breathed Pat looking on, "it's just
like something you read in a book!"

And, in truth, the next six weeks would have
written a highly romantic chapter in any novel.

' I 'HE blessed part of it was — there were no
rumors. For once, Hollywood failed to do
its usual blaring about a budding love affair.
Because Hollywood didn't know. No one sus-
pected. Not even the columnists. It wasn't
that Rafe and Heather were trying particu-
larly to keep it a secret. It was just that
columnists don't "cover" the Riviera polo
field on off days.

"Great shot!" Rafe pulled up to watch.
Heather was such an ethereal little thing to
be racing so madly down the field, swinging a
mallet. A celestial cherub in white whipcord
breeches and a silk shirt, riding her mount like
a gaucho. He didn't know then that she'd
ridden a pony in Oxford almost before she
could walk. That in India she'd been in the
habit of getting up at five in the morning to
exercise a friend's racing horses. But she was
a wonder on the polo field.

She was a wonder anywhere. In the evening
across candle-lit tables ... on long rides through
orange groves on up to the mountains. They
appeared together only twice in public. And
then the name-linkers of Filmtown were not
around !

It was at her farewell supper for Boyer that
Rafe told her:

"Heather, sweet, I'm leaving tomorrow for
a fishing trip up in the Sierras. I — I think it's
best."

He wanted to figure out this thing that had
happened to him, to get a perspective. It's one
thing to drift into a romance — and another
to be caught in the glorious whirlpool of it
that makes your senses reel, your heart pound.

•"TEN days later he was back. He knew

exactly what he wanted of life. He wanted

an angel with unfathomable dark eyes and an

Piioioplay Magazine foe January, 1935

adorable shyness and an eager wistful little
face. Hut the Angel was difficult. You can't
know an overwhelming love for the first time
and be sure what you're about. She was cold
and formal one minute, and appealingly warm
and dear the next. It put a man on edge.

"I think," he said mournfully one morning,
"it's going to take me two more months of
Steady concentration before I win her over."

That was the morning of August twenty-
eighth. There was nothing about it to hint
of what was to come.

Pat was giving a cocktail party for Chevalier
that afternoon and Mile. Angel was as remotely
impersonal as a marble statue. -Most people
thought they hadn't met. He was to take her
to dinner afterwards and Rafe scowled in be-
wilderment as he dressed for it. What made
her act like that? The telephone jingled. It
1 leather.

"I'm so tired tonight, Rafe. Would you
mind dining here at Pat's with the two of us?"
Was there a tremble in her voice? If he could
have known!

Hecause the Angel had made up her mind!
While she was dressing. A shaft of late sun-
light had fallen across his picture. She stood
there looking at it, wondering, and suddenly
something went "click" in her heart.

"Heather has just told me something to
ask you, Rafe, and I think she'd better ask
you herself," Pat leaned across the table in a
blaze of excitement. What was up? The
girls had been acting queerly ever since he
entered the room.

Heather pressed her hands together until
the little knuckles showed white.

"How long," she asked, "does it take to get
to Yuma?"

Simple words — and then the full meaning
of them struck Rale spellbound. He pushed
back his soup . . . went, in a trance, to the
other side of the table . . . Carolina, Pat's
French cook, dropped a whole tray of plates
and no one heard.

These Forbeses are a swift acting lot. Rafe
called five airports in so many minutes.
Not one plane available. He routed his sec-
retary, Jane Grey, out of bed. She in turn
routed Henry, the chauffeur.

"I thought so," said Henry sleepily. "I
knew we'd be traveling to Yuma one of these
days!"

It occurred to the pair that there were people
who might rate being notified. His mother —
her mother. "Will you come right up to
Pat's apartment in the Sunset Towers," was
their cryptic message. "We have something
important to tell you!"

There was the little matter, too, of an en-
gagement ring. Rafe searched through his
pockets in a frenzy. He had to use something!
He did — the slender chain of his watch! He
wrapped it around Heather's finger and no
ten-carat diamond ever was put on with more
tenderness and feeling. There was a catch in
her throat as his arms went around her. A
love summed up, a question asked, an answer
given in that one little phrase — "How long
does it take to get to Yuma?"

Usually it takes something like six hours
driving from Hollywood. It took them ten.
There were delays at the start, of course.
Heather had to find a frock of Pat's she could
wear. People came. Rafe caught sight of the
diamond and sapphire ring on his mother's
finger. It had been his grandmother's. His
mother was taking it off, giving it to him.

IO3

"This is better than the chain!" she smiled.
"Funny, I haven't worn it for years. J don't
know what possessed me to slip it on tonight."

Jane Grey contributed the wedding ring —
one she had worn on her little finger. Every-
body emptied their purses, for there's no pla< e
you can cash a check at midnight.

Finally they were off, at two-thirty in the
morning. Dinnerless, sleepless and blissfully
■in love.

It was just past Indio that they threw a
mainbearing. Fortunately, in front of a garage.
Hitch-hiking to your wedding . . . hailing
busses at daybreak.

But all the busses were going in the wrong
direction.

"I've got a 1922 car here," confided the
garageman, "but it goes." It did. Just.
It was held together by the grace of heaven
and little else. There was no back seat.

Only a choice collection of antique farm
implements. And in it Heather and Rafe
rode to their marriage.

Only four minutes it took, with Judge Free-
man reading the simple service. A hot, white
sun streamed in.

A bluebottle fly swung in lazy circles.
Funny, how Paradise can shift down into a
dry little courtroom.

On the way home by train Rafe murmured,
"Darling, do you know we have to begin
all over again? I'll begin with a star sapphire
engagement ring and then we'll get a link of
Janey's ring put into a wedding ring of your
own."

" It would be nice, dear," said the Angel,
"if you'd begin with a proposal! Y'ou know
you never have — officially — asked me to
marry you."

Will Your Favorite Star Survive Color?

f CONTINUED FROM PAGE 27 I

reproduce truly, but photographed with an
orangish-yellowish tinge.

Rich purples, lavenders, all shades of blue,
and many lovely in between colors could not
be recorded.

Now, however, the camera, by the new proc-
cess, is able to "see" all three primary colors,
and their combinations, of course, make up
every color visible to the human eye.

You can understand the impossibility of get-
ting true color pictures by the old process if you
try to imagine yourself painting a water color
picture, using only red, yellow, and green.

Under the old process, too, outlines were
blurred, making the pictures not only displeas-
ing but hard on the eyes.

rPHE failure of former Technicolor pictures,
however, should not be blamed entirely on
the camera's lack. Those who made the pictures
were partly to blame. They were used to work-
ing in black and white. They did not realize
that a production done in color had to be
handled differently; that careful planning of
color combinations and design were of para-
mount importance.

When Robert Edmond Jones worked out the
color for "La Cucaracha," he made thousands
of crayon sketches, designing the movie, scene
by scene, from the script. Every scene, each
tiny sequence, was then created from his crayon
sketches, copying the color exactly. Thus each
shot was a perfect picture so far as color and
design were concerned, making a beautiful and
artistic whole.

He is doing "Becky Sharp" with the same
care and exactness.

Those working in color realize now that such
careful design is necessary. They have learned,
too, that in many other respects their picture-
making must be treated differently. For
example, the heavy make-up so effective in
black and white photography is ugly and artifi-
cial in Technicolor. A light, natural make-up
must be used. This, of course, makes it more
difficult to cast a role. Skin defects cannot be
hidden beneath a coat of grease-paint and
powder Freckles can't be powdered over.

Eyes that are too small can't be made to look
large by tricky use of mascara and eye shadow.
Colorless hair won't do, while artificial coloring
or bleaching photographs badly.

IT'S putting an added demand on stars!
Those that passed their voice tests several
years ago, and have been breathing easy, ask
nervously now, "How will I photograph in
color?"

"It will change the standard of screen
beauty," says Robert Edmond Jones. "It will
bring naturalness into favor and toss artificial-
ity into the discard. Beauty like Irene Dunne's,
for example, will then become full}' appreciated
— rich reddish-brown hair, skin of lovely tex-
ture and color."

And, those stars who do survive the test are
going to find themselves confronted with a
more difficult job in movie-making.

The tedious business of wardrobe planning,
for example, will be even more difficult than
it is now.

Furthermore, according to stars who have
appeared in color pictures, the intense lighting
necessary for its photography makes working
conditions trying and unpleasant.

104

Jeanette MacDonald, who appeared in the
Technicolor sequence of "The Cat and the
Fiddle," says, "It was terrible, trying to work
under the lights. The heat was terrific; make-up
was ruined after five minutes, and the intense
light was so hard on our eyes, it was almost
unbearable."

Miss MacDonald, incidentally, with her
gold-red hair and gray-blue eyes, is one star
who should certainly rate high before the color
camera.

But if the players find themselves confronted
with difficulties, what of the studios?

The studios have millions of dollars worth of
equipment for making black and white pictures.
It cannot be used for color movies. Are they
going to be faced with junking all of this? Of
course, when the tornado of sound hit Holly-
wood, almost overnight equipment that cost
fortunes was thrown on the junk heap. And
there is no doubt that, if the public demands
color pictures, Hollywood must, and will, pro-
vide them.

But, aside from the high price of equipment,
the actual cost of producing a color picture is
enormous!

For example, it cost sixty-four thousand
dollars for RKO-Radio to produce "La
Cucaracha."

The average black and white picture of the
same length costs around fifteen thousand.

/^\NE reason for the steep cost of color pic-
^^tures is that the Technicolor camera uses
three times as much film as the black and white
camera. It carries one strip of negative film to
record each of the three primary colors. Thus
when the cameras grind, three photographs of
the scene are actually being taken at once. It
follows then that at each step in the handling
of the film the work and cost is tripled.

The process itself is not as difficult or com-
plicated as one might expect. Let us imagine
that the color camera is photographing a holly
wreath, hung on a blue door. Your eye sees the
red berries, the green leaves, the blue door. A
beam of light carries these three colors into the
camera.

As the light enters the camera, it strikes a
prism which splits it into three parts. In the
camera are three filters made of gelatin — a
green gelatin filter, a red one, a blue one. Each
of the three parts of the light beam strikes one
of these filters.

The green filter permits only the green in
the light to pass through and hit the negative
film.

The red filter lets only the red in the light
through.

The blue filter carries through the blue in
the light to the negative.

Now the actual color is not recorded on these
negatives.

Looking at them, you see only shadow, as
on an ordinary negative. The thing that is
recorded here is the intensity of the light
that has struck each negative.

These negatives must be printed now on a
positive which will preserve these values of
intensity and which can take dyes and print
them.

The positive used is a gelatin-coated film.
After the negative is printed on the positive,
the positive is put through a chemical process
which hardens the gelatin of the positive in

proportion to the light that strikes it. For
example, the red berries were dark on the one
negative behind the red filter, and those spots
let little light through, so the gelatin there
remains soft. On the same negative, the green
leaves and blue door are not dark, and light
hardens the gelatin in those spots. Each posi-
tive is now taken out and washed. Naturally
the soft gelatin washes away, leaving little
"valleys" where the red berries should be, and
reliefs of hard gelatin for the door and leaves.
These gelatin positives are known as matrices.

"NJOVV these matrices must be dyed. Each is
dyed with its opposite or complementary
color. The red matrix is dipped in a green dye;
thegreen matrix is dipped with red dye; the blue
matrix is dipped in yellow dye. You now have
three strips of film, one yellow, one green, one
red. The dye, of course, is absorbed according
to the thickness of the gelatin coating. Where
there is no gelatin, no dye will "take." Conse-
quently, the berries on the originally red mat-
rix, having no gelatin covering, take none of
the green dye. By the same token, on the
originally green matrix these berries retained
the gelatin, and so absorb the red dye.

The three matrices are now printed on the
final positive film. First the red matrix (now
dyed green, remember) is placed against the
film. Since, on this matrix, the red berries
retained no gelatin and consequently picked up
no green dye, the spot where the berries should
be simply remains blank on the film. Next,
however, the green matrix (now dyed red) is
placed against the film. Here the berries
retained the gelatin, absorbed the red dye, and
now print it on the film. However, on the third
matrix (the one originally blue, now dyed yel-
low) the berries also retained the gelatin and
took the yellow dye. When this is pressed
against the film, then, yellow dye is placed over
the red dye of the berries. The same is true of
each impression: each is dyed twice.

But the light in the projection machine,
striking the film as the picture is being shown,
clears this up. The light contains red, green and
blue elements — the three primary colors. As it
shines through the film, the red element holds
up the green, the green stops the red, the blue
detains the yellow. Thus the holly berries,
stained with red and stained with yellow, come
onto the screen as red only, because the blue
element in the light detains the yellow, and
only the red is allowed to go through. On the
screen, you see the colors now as accurately and
truly as if you were looking at the original
objects.

TF black and white movies are realistic to you,
it is only because your imagination supplies the
color. Technicolor, however, leaves nothing to
the imagination. There is even a process which
makes it possible to record such realistic
touches as a blush, or a players turning white
with fright or crimson with anger. In "La
Cucaracha" you may remember when Paul
Porcas became angry at Steffi Duna in the
restaurant, his face turned purplish red.

This is done with a machine which contains
a variety of colored lights set on a pivot. The
pivot is turned, shedding the desired light in
front of the projector, and directing it to the
spot in the scene where the effect is wanted.

The man who invented the machine says it

Photoplay Magazine for January, 1935

will increase the possibility of interesting effects
immeasurably, permitting even such realistic-
touches as pale greenish tinges for seasick
actors and pasty white effects for "hangovers,"
if desired.

Hollywood today is pretty much divided .mi
the subject of color. Sam Goldwyn and Eddie
Cantor recently leagued with the pro-colorists
when they made the final sequence of "Kid
Millions" in Technicolor. RKO-Radio signifies
its belief in the future of color by tossing tall
sums of money into "Becky Sharp."

But the fate of its future lies in the hands
of the public.

If the public demands it, the expense to
the industry, the discomfort to players will be
considered of small consequence.

If the public wants it, Robert Edmond
loncs' prophecy will be fulfilled — color will
come to the screen, to stay.

Hollywood Holiday
Follies

[ CONTINUED FROM PAGE 50 ]

Mae agreed he might come down to see her
sometime, so it was settled.

Dietrich and Von Sternberg were to walk
'into the Paramount dining-room, each with a
!shoe-box lunch under an arm and, selecting a
table, were to calmly lay out their weiner-
' schnitzels to their hearts' content and the
iwaiters' astonishment.

This, too, would please and surprise Santa,
:they felt sure.

Joan Crawford begged to be allowed to
Itwine gardenias in Santa's beard so he would
smell in harmony when he came down her
chimney.

Provided Franchot would stand for any
!such monkey business.

The only snag they ran up against, however,
was that all the girls wanted to tickle the jolly
>ld rascal; he being such a plump old lamb. In
ithe end, they finally had to lay down "no tick-
ing" rules which simply put Miriam Hopkins
.o bed with disappointment.

After lunch (at the Brown Derby) Santa was
;o view the Bus Berkeley girls in action. If
■ianta still lived, a simple little twenty-seven
;ourse supper was to be spread at the new
frocadero. "And let's finish up with nuts,"
omeone suggested.

rT'HAT settles it," everyone screamed, "if
the Marx Brothers come, we won't. They'll
;inish it up all right."

| Just to show that every little thing had been
hought out, it was agreed, if a Turkish bath
ailed to bring Santa around after the evening's
an, Adrian was to stitch a bale of cotton
round Guy Kibbee and with Santa's pack on
is back, he was to finish up the job.

"But what if I get stuck in a chimney?"
iuy whimpered,
[i "You've been stuck in worse things than
:iimneys, haven't you?" they argued. So it
as agreed.

And with this last detail complete, joy broke
■ose all over everything and Gracie Allen had
i clean it up. Cheers, huzzahs and three
iieers for "Hollywood's Holiday Follies" rang

it over the land.

And as Tiny Tim never in the world said,

Merry Christmas to you all. And God help
li, every one."

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Hundreds of pictures of the stars of Hollywood and illus-
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Scores of interesting articles about the people you see on
the screen.

Brief reviews with the casts of current photoplays. The truth and
nothing but the truth, about motion pictures, the stars, and the industry.
You have read this issue of Photoplay, so there is no necessity for tell-
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PHOTOPLAY MAGAZINE, Dept. 1-P, 1926 Broadway, New York, N. Y.

It's Never Been Done Before

CONTINUED FROM PAGE 51 ]

A producer, in London on business, sought
relaxation at the theater with friends. The
play was "The Ace," which had been a sensa-
tion in the English metropolis for several
months.

Even so, tired from a day of conferences and
checking reports, the producer leaned back in
his chair, prepared to be bored.

But in the first five minutes, he not only was
interested, he was sitting on the edge of his
seat. A new personality — vibrant, intriguing,
compelling — had flashed across his conscious-
ness.

A N olive-skinned beauty with flax-blonde
hair and big blue-green eyes, she wore the
simple costume of a French gamin stranded in
Germany during the war. A scarlet hair-
ribbon and sheer black silk stockings added a
saucy pertness which was devastating.

It was easy to identify her from the program,
as she was the only feminine member of the
cast. Ketti Gallian! An intriguing name —
one that would look well on theater marquees.

The producer, Winfield Sheehan, sighed
deeply. For more than a year he had been
searching the world over for the ideal girl to
play the title role in " Marie Galante," the Prix
de Rome novel by Jacques Deval which had
caused a sensation in Europe and an equal one
in America when it was published in English.

Here, if the gods were good, was the very
girl he had been seeking. If she filmed well, his
long search was at an end.

Through his London associates, he arranged
for an interview at Miss.Gallian's hotel. When
he arrived to keep the appointment, her secre-
tary was called in to interpret. Miss Gallian's
English vocabulary embraced no more than
"How do you do," "Thank you," and "Good-
bye," despite her months in London.

She had no intention
of remaining in Eng-
land when she accepted
the role of the French
girl in " The Ace," and,
as her lines were all in
her native language,
there was no necessity
for her to learn English.
She did the same as
most Americans do
who go to France for a
visit — hired a bilingual
secretary, and trans-
acted all business
through her, even to
her shopping.

Mr. Sheehan found
Miss Gallian delightful
on acquaintance and
speedily arranged for
her to make a screen
test. Language offered
no complications, as
she merely did a scene
fr< >m "The Ace" before
the camera.

She screened gor-
geously, the searching
eye of the camera re-
cording many facets of
her piquant person-
ality that were lost
over the footlights.

10G

The producer found the little French actress
more than eager to visit Hollywood. But there
were several items to be settled first. That
matter of language — end, she ^,'ould learn
English within one hundred days. Screen
training — she would submit herself to any in-
struction deemed necessary. Remodeling her
figure — Oo, la la!

Famous artists had pronounced her figure
tres chic.

Why must she change?

It was patiently pointed out that the camera
magnifies, and that a person who may look
perfect on the street or the stage, often will
look too large on the screen.

Oui — Gallian would reduce, too, if it were
necessary. And so the very unusual contract
was signed.

On Christmas Eve, her birthday, inciden-
tally, Ketti Gallian arrived at the Hollywood
airport. A stranger in a strange land, her
first impulse was to hop another plane for
home.

She had been seasick on the rough ocean
crossing aboard the Italian Rex. She was air-
sick following her speedy dash across the con-
tinent by plane, and heartsick and lonesome
for her relatives and friends more than six
thousand miles away in Europe.

A N additional provision of her contract re-
quired that, in order to insure her concen-
tration on learning English, she must not as-
sociate with French or French-speaking people
during the period of her training.

The only answer she knew to homesickness
and discouragement was work, so the volatile,
flaxen-haired starlet settled down to a period
of intensive study and the bitter drudgery of
lonely labor.

Margaret Knapp, who last year coached

Roger Pryor is
The romance

proving a most attentive listener to Ann Sothern's reading,
between this couple, seen dining at the Brown Derby
restaurant, is said to be growing

Anna Sten, the Russian actress, in English so
successfully, was retained to tu tor the French girl.
•> The young ladies shared an apartment, to
obtain better results on the concentrated
course of lessons.

Miss Gallian's only relaxation contributed
to her education, too.

She listened to the radio and attended
American movies to become accustomed to the
proper enunciation of words.

""TECHNICAL resources of Fox Movietone
City were placed at Miss Gallian's disposal.
She was coached in histrionics, she was drilled
in poise and carriage.

In a hundred days she had learned Eng-
lish. She became sufficiently acquainted with
the language to read her lines clearly and
distinctly, with just the trace of accent
which movie-goers find so delightful in foreign
stars.

Through exercise — horseback riding, bicyc-
ling, tennis and swimming — and a balanced
menu of wholesome foods, she reached her
proper weight and the slender, sinuous silhou-
ette her height and characteristics call for.

Miss Gallian was born in the south of
France, but her coloring, features and figure are
not typical of that region. She is a marked
contrast to the small-statured brunette wom-
en of southern Europe.

Straight as an arrow, she is wide-shouldered,
thin-hipped, with light tresses and blue-green
eyes.

Perhaps this is due to the influence of her
mother, w-hose family was of Nordic origin,
though French for generations. Ketti's
mother was born in Boulogne-sur-Mer on the
English Channel. Ketti's father, Victor
Galliano, is Italian born, from the Piedmont.
A grape-grower, his vineyards extend up the
hillsides of the Mari-
time Alps, drinking in
the sun from the warm
southern exposure.

Victor Galiiano be-
came a French citizen
before the war and was
mobilized with the
French army when
hostilities broke out in
1914. He went to the
trenches early in 1915,
was slightly wounded,
went back to the lines,
then came down with
pneumonia.

After a long siege in
a hospital, he was
finally invalided out of
the service.

Ketti was a war
baby. She was born
during the dark days
of the great struggle,
far from the front, but
a stone's throw from
the Mediterranean Sea
where enemy sea
raiders frequently at-
tempted to shell the
ports — where enemy
aircraft soared down
the Rhone Valley to
bomb distant cities.

Addresses

Photoplay Magazine for January, 1935

of the Stars§_!

107

H T

Iris Adrian
Max Baer
George Barbier
Ben Bernie
Douglas Blackley
Mary Boland
Grace Bradley
Lorraine- Bridges
Carl Brisson
Kathleen Burke
Bums and Allen
Allan Campbell
Kitty Carlisle
Claudette Colbert
Elisha Cook, Jr.
Gary Cooper
Jack Cox
Larry "Buster
Eddie Craven

■ Bins Crosby
Ml rod Delcambre
[Catherine DeMille
Marlene Dietrich
Jessica Dragonette
Frances Drake
\V. C. Fields
William Frawley
Paul Gerrits

i Gwenllian Gill
Cary Grant

I David Holt

j Dean Jagger
Roscoe Kama
Elissa Landi
Charles Laughton

, Hilly Lee

' Baby LeRoy
Diana Lewis

Hollywood, Calif-
Paramount Studios

Carole Lombard
Pauline Lord
Ida Lupino
Helen Mack
Fred MacMurray
Julian Madison
Marian Mansfield
Herbert Marshall
Lois Maybell
Gertrude Michael
Raymond Milland
Joe Morrison
Lloyd Nolan
Jack Oakie
Lynne Overman
Gail Patrick
Joe Penner
Crabbe George Raft
Lyda Roberti
Lanny Ross
Jean Rouverol
Charlie Ruggles
Randolph Scott
Ann Sheridan
Sylvia Sidney
Alison Skipworth
Queenie Smith
Sir Guy Standing
Colin Tapley
Kent Taylor
Eldred Tidbury
Lee Tracy
Evelyn Venable
Mae West
Henry Wilcoxon
Howard Wilson
Virginia Weidlcr
Toby Wing

Fox Studios, 1401 N. Western Ave.

'■ Frank Albertson
Astrid Allwyn

I Rosemary Ames

, Lew Ayres

; Catalina Barcena

. Mona Barrie
Warner Baxter
John Boles
John Bradford
Frances Carlon
Madeleine Carroll
Dave Chasen

' Tito Coral
James Dunn

I Jack Durant
Alice Faye
Peggy Fears
Stepin Fetchit
Nick Foran
Norman Foster
,Ketti Gallian
Janet Gaynor
Harry Green
jRochelle Hudson
.Roger Imhof
Walter Johnson

June Lang
Edmund Lowe
Victor McLaglen
Frank Melton
Frank Mitchell
Conchita Montenegro
Rosita Moreno
Herbert Mundin
Warner Oland
Valentin Parera
Pat Paterson
Ruth Peterson
John Qualen
Will Rogers
Gilbert Roland
Raul Roulien
Siegfried Rumann
Albert Shean
Berta Singerman
Shirley Temple
Spencer Tracy
Claire Trevor
Helen Twelvetrees
Blanca Vischer
Henry B. Walthall
Hugh Williams

RKO-Radio Pictures, 780 Gower St.

Glenn Anders
Fred Astaire
John Beal
.Willie Best
Eric Blore
Alice Brady
Helen Broderick
Bruce Cabot
Chic Chandler
Richard Dix
Steffi Duna
Irene Dunne
Hazel Forbes
Skeets Gallagher
Wynne Gibson
Alan Hale
Margaret Hamilton
Ann Harding

Katharine Hepburn
Pert Kelton
Francis Lederer
Gene Lockhart
Joel McCrea
Raymond Middleton
Polly Moran
June Preston
Gregory Ratoff
Virginia Reid
Erik Rhodes
Barbara Robbins
Ginger Rogers
Ann Shirley
Frank Thomas, Jr.
Thelma Todd
Bert Wheeler
Robert Woolsey

United Artists Studios, 1041 N. Formosa
kve.

'iddie Cantor Miriam Hopkins

-"harles Chaplin Mary Pickford

Oouglas Fairbanks Anna Sten

20th Century Studios, 1041 N. Formosa
\ve.

.ieorge Arliss
"onstance Bennett
<onald Colman

Columbia Studios,

iobert Allen
ean Arthur
-ucille Ball
lines Blakeley
ohn Mack Brown
ack Buckler
Jancy Carroll
v'alter Connolly-
Donald Cook
nez Courtney
ichard Cromwell
llyn Drake
'ouglas Dumbrille
shn Gilbert
rthur Hohl
ick Holt
. ictor Jory

Fredric March
Loretta Young

1438 Gower St.

Fred Keating
Peter Lofre
Sheila Mannors
Marian Marsh
Tim McCoy
Geneva Mitchell
Grace Moore
George Murphy
Virginia Pine
Arthur Rankin
Gene Raymond
Florence Rice
Charles Sabin
Billie Seward
Ann Sothern
Raymond Walburn
Fay Wray

Culver City, Calif.
Hal Roach Studios

Don Barclay
Billy Bletcher
Charley Chase
Billy Gilbert
Oliver Hardy

Metro-Goldwyn-

Brian Aherne
Katharine Alexander
Elizabeth Allan
Lionel Barrymore
Wallace Beery
Virginia Bruce
Ralph Bushman
Charles Butterworth
Mary Carlisle
Leo Carrillo
Ruth Channing
Maurice Chevalier
Mady Christians
Jackie Cooper
Joan Crawford
Marion Davies
Jimmy Durante
Nelson Eddy
Stuart Erwin
Madge Evans
Muriel Evans
Louis? Fazenda
Preston Foster
Betty Furncss
Clark Gable
Greta Garbo
Gladys George
C. Henry Gordon
Ruth Gordon
Russell Hardie
Jean Harlow
Helen Hayes
Louise Henry
William Henry
Jean Hersholt
Irene Hervey

Patsy Kelly
Stan Laurel
Billy Nelson
Our Gang
Douglas Wakefield

Mayer Studios

Isabel Jewell
Otto Kruger
Elsa Lanchester
Evelyn Laye
Myrna Loy
Jeanette MacDonald
Una Merkel
Robert Montgomery
Frank Morgan
Karen Morley
Ramon Novarro
Maureen O'Sullivan
Cecilia Parker
Jean Parker
Nat Pendleton
Rosamond Pinchot
William Powell
Esther Ralston
May Robson
Shirley Ross
Rosilind Russell
Maurice Schwartz
Norma Shearer
Sid Silvers
Martha Sleeper
Lewis Stone
< rloria Swanson
William Tannen
Robert Taylor
Franchot Tone
Henry Wadsworth
Lucille Watson
Johnny Weissmuller
Diana Wynyard
Robert Young

Universal City, Calif.

Universal Studios

Heather Angel
Henry Armetta
Nils Asther
Binnie Barnes
Dean Benton
Mary Brooks
Willy Castello
June Clayworth
Carol Coombe
Philip Dakin
Ann Darling
Andy Devine
Sally Eilers
Valerie Hobson
Sterling Holloway
Henry Hull
G. P. Huntley. Jr.
Lois January
Buck Jones
Boris Karloff

Frank Lawton
Bela Lugosi
Paul Lukas
Florine McKinney
Douglass Montgomery
Victor Moore
Chester Morris
Hugh O'Connell
Roger Pryor
Juanita Quigley
Claude Rains
Onslow Stevens
Gloria Stuart
Margaret Sullavan
Francis L. Sullivan
Polly Walters
Alice White
Clark Williams
Jane Wyatt

Burbank, Calif.

Warners-First National Studios

Ross Alexander
Mary Astor
Arthur Aylesworth
Robert Barrat
Joan Blondell
Glen Boles

George Brent
Joe E. Brown
James Cagney
Enrico Caruso, Jr.
Hobart Cavanaugh
Joseph Cawthorn
Colin Clive
Ricardo Cortez
Dorothy Dare
Bette Davis
Dolores Del Rio
Claire Dodd
Ruth Donnelly
Maxine Doyle
Ann Dvorak.
John Eldredge
Patricia Ellis
Florence Fair
Glenda Farrell
Grace Ford
Kay Francis
William Gargan
Hugh Herbert
Russell Hicks
Leslie Howard
Ian Hunter
Josephine Hutchinson
Allen Jenkins

Al Jolson
Olive Jones
Ruby Keeler
Guy Kibbee
Terry La Franconi
Hal LeRoy
Robert Light
Margaret Lindsay
Anita Louise
Helen Lowell
Aline MacMahon
Frank McHugh
Helen Morgan
Jean Muir
Paul Muni
Pat O'Brien
Henry O'Neill
Dick Powell
Phillip Reed
Philip Regan
Edward G. Robinson
Winifred Shaw
Barbara Stanwyck
Lyle Talbot
Verree Teasdale
Genevieve Tobin
Dorothy Tree
Mary Treen
Helen Trenholme
Harry Tyler
Gordon Westcott
Warren William
Donald Woods

Lloyd Hughes, 616 Taft Bldg.. Hollywood, Calif.

Harold Lloyd, 6640 Santa Monica Blvd., Hollywood

Calif.

Neil Hamilton, 351 N. Crescent Dr., Beverly Hills.

Calif.

Ned Sparks, 1765 No. Sycamore Ave.. Hollywood,

Calif.

Alan Dinehart, 2528 Glendower Ave., Hollywood.

Calif.

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All the World's His Stooge

CONTINUED FROM PAGE 77 ]

eventually substituting rubber balls for the
stones. Rapidly he became more adept, and
finally was urged to present his "act" on
amateur night at the neighborhood theater in
the Bronx. Jimmy won first prize, and the
manager offered the youngster a two-a-day
contract.

As the years went on, Savo developed the
most complicated of juggling routines. One
intricate trick took him two years to perfect.
( )nce, while presenting it in a vaudeville house,
he missed and the audience laughed. Savo
decided that he would never be laughed at
again while trying to perform a difficult and
serious act. So he went back to simple tricks,
doing them with comedy pantomime. His
comedy was so successful that gradually he
dropped the juggling and emphasized the
pantomime. Almost at once he became a head-
liner in vaudeville, featured comedian in
Broadway shows, and a popular entertainer in
New York's most famous night clubs.

It is surprising that until now movies paid
little attention to him. For his forte is panto-
mime— always more effective on the screen
than on the stage. He made some Sunshine
comedy shorts for Fox back in the silent days,
and they attracted no particular attention.
Last Spring he made a movie, "The Girl in the
Case," for Dr. Eugene Frenke. husband of
Anna Sten. A private production, the picture
was never released. However, picture men and
critics who saw the movie by invitation, sang
Savo's praises. And a few months later Hecht
and MacArthur asked him to play the lead in
their picture.

Maybe Hollywood shunned him because he
once told a movie director that he would like to
see his favorite book brought to the screen. It's

"The Dishonest Conductor," by Rob Nickels.

He makes everybody stooge for him. And
they like it! He'll say to you merrily, "Come
and go to the fair with me this afternoon."

You answer, "But, Jimmy, I didn't know
there was a fair in town."

"Must be. I read it in the paper last night,
' Fair today and tomorrow.' "

He's the only comedian I've ever known who
even makes stooges out of the writers who are
interviewing him.

Ask him about his education and he'll say,
" Sure I went to school. What did I take up?
Space. No, seriously, I studied geography. I
learned that the most important animal in
Russia is a Mouse-cow."

A SK him about his film plans for the future —
if he may go to Hollywood — and he
answers, "Well, I bought an elephant so I'll
have a trunk handy, just in case. And that
reminds me, do you know whose baby is being
fed on elephant's milk? The elephant's baby,
of course."

You groan and try to bring him back to the
subject of movies, his career, and ask him if he,
like most comedians, wants some day to do
dramatic roles.

" No," he answers. "Once I wanted to write
plays. But now I know I'd rather be Jimmy
Savo than William Shakespeare. Because
Shakespeare, you know, is dead."

You groan again and ask him what he would
like to do if he should go to Hollywood, and he
says, " I'd like to become a rhinoceros, so I can
horn in everywhere. You know, I hear Holly-
wood is a tricky place. They even have a trap
set for Mickey Mouse."

If Jimmy Savo does go to Hollywood it won't

be soon. That is, unless Ben Hecht and
Charlie MacArthur, now producing pictures
for Paramount in New York, change their
minds and agree to return to the Coast. For
Jimmy is under contract to Hecht and Mac-
Arthur for six pictures to follow "Once in a
Blue Moon." They are convinced that the
Broadway comedian is going to be a screen
sensation, a second Chaplin. They believe
that his ill-fitting, patched-up clothes and his
always handy bean-shooter will become as
famous as Charlie's big shoes and cane.

And if his two directors are silent when
Jimmy tells a joke, it's probably because
they're afraid to open their mouths for fear
Savo will make stooges out of them.

And he does, too. For example, they were
ready to start work on the set when Savo
rushed up to Hecht, saying, "Hey, do you
know who is in the hospital?"

Hecht cast an anxious eye about the set.
"No, who?"

"Sick people," Jimmy answered.

" Well, you oughta be there! " Hecht snarled.

"Oh, no. Not me, Ben. I just swallowed a
mint and I feel like a million dollars! By the
way, Ben. You're a great director, and I'm an
actor, trying to learn how to speak lines. A
guy last night told me it was possible to say
'What am I doing?' in five different ways,
making five shades of meaning, just by
accenting different words. But I don't believe
that, do you?"

"Certainly, it is," the director answered.
" I'll show you. What am I doing? What am
/ doing? What am I doing? What I am doing?
What am I doing?"

"Making a sap of yourself, Ben! Well, call
me when the camera's ready."

Margaret Sullavan Wants None of It!

she was not and never would be happy making
pictures. It wasn't just Hollywood. Margaret
had preconceived ideas about Hollywood —
playtime Hollywood — and stunningly ignored
it. All during her debut picture she was "reg-
ular" enough about doing the extra-set tasks
demanded of a star. The publicity gags, pic-
tures, smiles, introductions. No one called her
a "prima donna."

But she was terribly unhappy every minute
of the time she spent within studio gates. And
she still is. I happen to know that ever since
"Only Yesterday," and its undreamed of re-
sult of lifting her to the small pinnacle of great
screen stars, Margaret Sullavan has never been
the same.

"RVEN during the filming of "Little Man,
What Now?" under the kindness and
understanding of Frank Borzage, whom she
liked, on a set where harmony and pleasant-
ness ruled, Margaret suffered the same soul-
twisting tortures.

Every picture has been a Hell for her to
get through. Her attitude, which is genuine
and uncontrollable, has not changed one iota

108

[ CONTINUED FROM PAGE 29 ]

from the first discouraging week of her screen
career to the day we talked at luncheon.

To completely understand it would be to
completely understand Margaret Sullavan —
and only the gods can dare boast such percep-
tion. For she is no ordinary person; on the
contrary, she is one of the most intensely in-
teresting and individual characters ever to
visit Hollywood.

However, here is an attempt at least to pene-
trate the shell of a psychology which has pro-
vided Hollywood with an enigma rapidly be-
coming as classic as Garbo.

In the first place, all the rich rewards of
movie stardom leave her as cold as a casting
director's eye.

Money, movie money, big money simply has
no lure for her. She doesn't want mink coats
and town cars. Making good in a show world
doesn't lend her the slightest desire to make a
show.

Last year she drove a small, second-hand
medium priced roadster; this year she doesn't
even own a car, but rents a 1932 rattly, two-
seater of one of the lowest priced makes.

Living in style, wearing sensational, expen-

sive clothes, putting it on in the grand manner
is actually distasteful to her. Last year, again,
she took a house in Coldwater Canyon, not a
big house, but a nice house. This year she lives
right in the heart of Hollywood, in a small
apartment. The address is good, but not ultra-
ultra. Fame, publicity, glamour, ballyhoo, they
make her shudder. I doubt if she has read one
one-hundredth of the stories written about her.
She keeps none of her countless still portraits.
She wasn't enjoying having luncheon with me,
although we are friends, because she knew
I was going to write about her. Anything at-
tempted in the nature of an interview is ac-
tually painful to her. Talking about herself
makes her weak inside. She made me promise
not to quote her.

HTHE fact that millions of people all over the
world are being entertained and made happy
by her pictures, the fact that she is succeeding
in what most people consider an immeasurably
great career does not begin to compensate her
for what she sincerely feels she is missing be-
cause of it.

To her any career — even the stage, which

Photoplay Magazine for January, 1935

she loves almost reverently — isn't worth a snap
of the ringers if it in any way bounds her free-
dom. If it keeps her from drinking to the
fullest of life.

In some ways, Margaret Sullavan is a wise
old woman; in others, I suspect that she is
a naive child.

Because she eagerly wants, she insists on
every worth while fruit in the world's Eden —
not sometime, but now.

She wants a stage career (she wants to " learn
how to act"!!) she wants to travel, she wants
marriage, a home, children, she wants leisure
— and all pretty much at once. The fact that
all of these can come in a few years, after she
has made herself independent for life, by a
short prison "stretch" in Hollywood, cuts no
figure whatever with her.

She thinks that now is the time to be free —
not later.

(~\F course, most of us wouldn't consider the
^making of two pictures a year (even though
each picture, being the most important on
Universal's schedule, takes from two to three
months to film) exactly the four walls of a
prison — but to one so geared as Margaret
Sullavan, it is more than a prison — it's a tor-
ture chamber.

Every day she spends on the set saps her
energy to the last dregs and tires her to nervous
exhaustion. She goes home in a state of mind
which carries the conviction that her day's
work has been futile — that she has given a mis-
erable performance — that she has wasted a

i precious, irretrievable day of her life — for
naught.

She can't bear to view the rushes of her day's

1 work in the evening after the final "Cut" has

'. sounded.

Director William Wyler asked her as a

' special favor to see them on her present pic-

: ture, "The Good Fairy."

He thought it would help her.
She went for two evenings. She couldn't
stand to see herself and begged off; she
hasn't seen them since.

From all of it she wants to escape. Weary
of the bargain which unsought, unexpected
success has forced on her, Margaret Sullavan
wants a way out.

Will the marriage that she contemplates help
her find the freedom and the rich experience of
life she demands, and which, being made as she
is made, Hollywood denies her? Will it be the
first step towards her eventually forsaking the

(~\R- will it change her whole psychology, re-
'^^vamp her unusual attitude towards screen
stardom, give her enough of the extra-studio
if e she now lacks, and make what now seems
iull torture an attractive career?
, There is only one answer —

She will still be essentially Margaret Sulla-
/an, no matter whom she marries — and so sin-
cere is her unhappy dislike of a screen star's
ife, that no mere wedding ring can transform
ts aura from gray to golden.
I Of course, marriage or no marriage, she can't
ust quit. She's a very valuable piece of screen
roperty, whether she likes it or not — and Uni-
ersal has a contract with her for two more
ears.

But she is just enough of a life loving, free-
om seeking person to go in for this marriage
ith her whole soul, found a home and raise a
imily!

So take a good look, a long lingering look at
largaret Sullavan in "The Good Fairy," for
iat picture and the one after it might be your
st chance to see her for some time.

IO9

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Here's How!" says Wing to Perelman

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Brief Reviews of Current Pictures

CONTINUED FROM PAGE 17 ]

LOST JUNGLE, THE— Mascot.— Clyde Beatty
gives an exciting performance with both lions and
tigers in the big cage. And his South Sea Isle ex-
periences add to thrills. (Sepl.)

LOST LADY, A— First National.— VVilla Cather's
novel, considerably revamped. Barbara Stanwyck
fine in title role; Frank Morgan and Ricardo Cortez
satisfactory. (Nov.)

LOUD SPEAKER, THE— Monogram.— Familiar
story of small-town boy (Ray Walker) who makes
good on the air, but can't stand success. Jacqueline
Wells is the girl in this pleasing picture. (July)

LOUISIANA— Robert Mintz Prod.— Some of the
scenes in this odd film about a group of Negroes torn
between their pastor's teaching and Voodooism are
really fascinating. Beautiful voices are heard in
spirituals. (Sept.)

LOVE CAPTIVE, THE— Universal.— A confused
issue over use of hypnotism in certain illnesses. Nils
Asther, Gloria Stuart and supporting cast fine, but
story is weak. (Aug.)

LOVE TIME— Fox.— The struggles of Franz
Schubert (Nils Asther); his love for a princess (Pat
Paterson); her father's (Hen,ry B. Walthall) efforts to
separate them. Lovely scenes, lovely music. (Dec.)

MADAME DU BARRY— Warners— An elabo-
rate and diverting presentation of Madame Du-
Barry's (Dolores Del Rio) pranks in the French
Court. King Louis XV is brilliantly portrayed by
Reginald Owen. (Aug.)

• MANHATTAN MELODRAMA— M-G-M.
— Powerful drama about the friendship of two
men — district attorney William Powell and gambler
Clark Gable — and the tragic climax of that friend-
ship. Myrna Loy does fine work. (July)

MAN FROM UTAH, THE— Monogram— Thrill-
ing rodeo shots speed up this Western in which
John Wayne exposes the racketeers. Polly Ann
Young is the feminine interest. (Aug.)

MAN WITH TWO FACES, THE— First Nation-
al.— Clear cut character drawing, intelligent direction
and Edward G. Robinson make this a decidedly good
show. Mary Astor, Ricardo Cortez, Louis Calhern.
(Aug.)

MANY HAPPY RETURNS— Paramount.— Just
a bucket of nonsense, with George Burns, Gracie
Allen, Joan Marsh and supporting players causing a
riot of fun. (July)

MENACE — Paramount. — Mystery. Starts weak,
but picks up, and you'll be well mystified. A mad,
man threatens Gertrude Michael, Paul Cavanagh-
and Berton Churchill whom he blames for his
brother's suicide. (Dec.)

MERRY FRINKS, THE— First National— Aline
MacMahon, Hugh Herbert, Allen Jenkins, Frankie
Darro, Joan Wheeler and Guy Kibbee are all valuable
in making up a comedy well worth your time. (Aug)

• MERRY WIDOW, THE— M-G-M— Oper-
etta striking a new high in lavish magnificence.
Jeanette MacDonald and Maurice Chevalier rate
honors for their performances. (Nov.)

MERRY WIVES OF RENO— Warners.— This
feeble and unamusing tale is too much even for the
capable cast, including Margaret Lindsay, Donald
Woods, Ruth Donnelly, Guy Kibbee. (Aug.)

MIDNIGHT ALIBI— First National.— As the
gang leader who loves the sister (Ann Dvorak) of a
rival gangster, Richard Barthelmess, comes through
in fine style. New plot twist. (Aug.)

MILLION DOLLAR RANSOM— Universal— In
the role of a former liquor baron trying to go straight,
Edward Arnold is superb. Phillips Holmes and
Mary Carlisle do nice work, too. (Oct.)

MONTE CARLO NIGHTS— Monogram.— This
screen adaptation doesn't do the E. Phillips Oppen-
heim story justice. But Mary Brian and Johnny
Darrow do their best to entertain you. (July)

MONEY MEANS NOTHING— Monogram.— A
few dull spots, but on the whole this yarn about the
shipping clerk (Wally Ford), who marries the
wealthy girl (Gloria Shea) is amusing. (Aug.)

MOONSTONE, THE — Monogram. — David
Manners and Phyllis Barry do a good acting job in
spite of poor direction and a loose screen play. (Oct.)

MOST PRECIOUS THING IN LIFE— Colum-
bia.— Jean Arthur's superb performance is wasted
in this familiar tale of the mother who turns up in
the son's (Richard Cromwell) later life as the "biddy"
in his college dormitory. (Aug.)

MRS. WIGGS OF THE CABBAGE PATCH—

Paramount. — Interesting adaptation, with Pauline
Lord, ZaSu Pitts, W. C Fields and a host of other
fine players. (Nov.)

• MURDER AT THE VANITIES— Para
mount. — Two backstage murders make the
opening night of Earl Carroll's show a memorable
one. Carl Brisson, Kitty Carlisle and a host of well-
known players in support. (Alt?.)

MURDER IN THE PRIVATE CAR— M-G-M.—

A riot of thrills and nonsense cover up weak spots in
plot. Mary Carlisle, Una Merkel, Charles Ruggles,
Russell Hardie all well cast. (Sept.)

MURDER IN TRINIDAD— Fox.— While Nigel
Bruce investigates smuggling of diamonds out of
Trinidad, two men are killed. Exciting melodrama
Victor Jory, Heather Angel. (Aug.)

MURDER ON THE BLACKBOARD— RKO-

Radio. — Plenty of action, suspense and chills, with
Edna May Oliver superb in a humorous Philo
Vance role. Jimmy Gleason and Regis Toomey
(Aug.)

MYSTIC HOUR, THE— Progressive— Crooked-
est crooks, fightingcst fights, tag with fast trains,
middle-aged hero, dastardly villain, his bee-ootiful
ward. But no custard pies. Montagu Love. Charles
Hutchison, Lucille Powers. (Dec.)

NELL GWYN— British & Dominion-United
Artists. — Sir Cedric Hardwicke and Anna Neagle
in a weak screen story on the life of the lowly actress
who became a favorite of King Charles II. (Oct.)

NOTORIOUS SOPHIE LANG, THE — Par-
amount.— Comedy-melodrama with Gertrude Michael
and Paul Cavanagh as crooks vying for first place
in their profession. Alison Skipworth. (Sept.)

• NOW AND FOREVER— Paramount— Baby
Shirley Temple scores again as vagabond
adventurer Gary Cooper's motherless tot. Carole
Lombard is Gary's beautiful love. Principals and
support A-l. (Oct.)

NOW I'LL TELL — Fox. — An interesting account
of the life of the famous gambler, Arnold Rothstein,
by his widow. Spencer Tracy is excellent in the lead.
Helen Twelvetrees plays his wife. Alice Faye and
fine support. (July)

• OF HUMAN BONDAGE — RKO-Radio. —
Deft adaptation of Somerset Maugham's novel
about a cripple (Leslie Howard) hopelessly in love
with a vicious woman (Bette Davis). Expert char-
acterizations by principals, Frances Dee, Reginald
Owen and Alan Hale. (Sept.)

• OLD-FASHIONED WAY, THE — Par-
amount. — Paralyzing gags, situations and
lines in this Gay Nineties story featuring W. C. Fields,
Baby LeRoy, Judith Allen, Joe Morrison and revival
cast of stage play "The Drunkard." (Sept.)

ONCE TO EVERY BACHELOR— Liberty.— A

veteran comedy-drama plot, but the cast gives it life
and sparkle. Marian Nixon, Neil Hamilton and
Aileen Pringle. (Aug.)

ONE EXCITING ADVENTURE— Universal-
Striving for suavity robs story of much charm. Neil
Hamilton reforms Binnie Barnes, who picks up
diamonds hither and thither. Has laughs, and Paul
Cavanagh, Eugene Pallette, Grant Mitchell. (Dec.)

ONE MORE RIVER — Universal. — Americans
will find this account of Diana Wynyard's affair with
Frank Lawton, resulting in a divorce from her cruel
husband, a trifle ponderous. (Oct.)

• ONE NIGHT OF LOVE— Columbia.— An
unusual musical romance. With your eyes
open or closed, it's an evening for the gods. Grace
Moore's voice is glorious. Lyle Talbot and Tullio
Carminatti. (Aug.)

• OPERATOR 13— M-G-M— Marion Davies
does fine work as a spy in this Southern
extravaganza with Civil War background. Gary
Cooper is a spy for the opposite side. (Aug.)

ORDERS IS ORDERS— Gaumont-British. — An

amusing skit with all-English cast excepting Jimmy
Gleason and Charlotte Greenwood, who are a
comedy riot, (.-lug.)

OUR DAILY BREAD— United Artists.— Frankly
communistic, this film portrays community ranch
life, climaxing with a victory over drought. Karen
Morley, Tom Keene and Barbara Pepper fine. (Sept.)

OUTCAST LADY— M-G-M.— Every cast mem-
ber— including Constance Bennett, Herbert Mar-
shall, Ralph Forbes, Hugh Williams— does his utmost.
But this rambling presentation of Michael Arlen's
"Green Hat" hampers their efforts. (Nov.)

OVER NIGHT— Mundis Distributing Corp.—
Crook melodrama, but no suspense. Story is tele-
graphed ahead. But, it has engaging Robert Donat
and beautiful Pearl Argyle. (Dec.)

PARIS INTERLUDE— M-G-M.— Good story idea
and setting, but disjointed telling. Hero worship is
theme — Robert Young's somewhat shoddy idol being
Otto Kruger, an adventurous newspaper man. Fine
cast includes Madge Evans. (Oct.)

PARTY'S OVER, THE— Columbia.— In this
one, it's anything for a laugh. Stuart Erwin, satis-
factory as the youth burdened by a shiftless family.
Ann Sothern, William Bakewell. Arline Judge ade-
quate. (July)

• PECK'S BAD BOY— Fox.— The story so
many of us have enjoyed in days gone by,
effectively screened. Jackie Cooper is the "bad
boy," and Thomas Meighan is Mr. Peck. (Nov.)

PERSONALITY KID, THE— Warners.— Not a
new plot, but it's well handled. Pat O'Brien, as an
egotistical prize-fighter is okay. Glenda Farrell
plays his wife. (Aug.)

PURSUED — Fox. — Too hilariously melodramatic
to be true. Everyone, including cast — Rosemary
Ames, Pert Kelton, Victor Jory, Russell Hardie—
must have been kidding when they made this picture.
(Nov.)

PRIVATE SCANDAL— Paramount.— Comedy-
mystery which doesn't succeed in being either. Lew
Cody is murdered and daughter Mary Brian's fiance,
Phillips Holmes, is the chief suspect. ZaSu Pitts and
Ned Sparks. (July)

• PURSUIT OF HAPPINESS, THE Para-
mount.— Hinges on the long-gone custom used
to eke out the firewood, "bundling"; a Hessian soldier
and a Colonial lass in Revolutionary War days.
Francis Lederer, Joan Bennett, Charles Ruggles,
Mary Boland, Barbara Barondess. Very amusing.
(Dec.)

RANDY RIDES ALONE— Monogram.— Western
devotees will enjoy seeing John Wayne track down a
band of outlaws led by George Hayes, Alberta
Vaughn. (Sept.)

READY FOR LOVE — Paramount. — Amusing,
should please entire family. Richard Aden, news-
paper owner, mistakes Ida Lupino for the inamorata
of the town's leading citizen. Marjorie Rambeau,
Trent Durkin, Beulah Bondi. (Dec.)

REDHEAD — Monogram. — Grace Bradley doesn't
subscribe to the theory you shouldn't marry a man to
reform him. She does, and it works. Bruce Cabot
the man. (Dec.)

• RETURN OF THE TERROR— First Nation-
al.— A chilling mystery that has for its locale a
sanitarium for the insane. John Halliday, Mary
Astor and Lyle Talbot are right up to par. Suspense
well sustained. (Aug.)

• RICHEST GIRL IN THE WORLD, THE—
RKO-Radio. — Miriam Hopkins does grand job
in title role, as girl who wants' Joel McCrea to love her
for herself alone. Fay Wray. (Nov.)

ROCKY RHODES— Universal.— Good fare for
Western devotees, with fist fights and lots of fast
riding by Buck Jones. (Nov.)

• ROMANCE IN THE RAIN— Universal— An
amusing fantastic semi-musical with Roger
Pryor, Victor Moore and Heather Angel, handsomely
mounted and uproariously funny. (Oct.)

• SADIE McKEE— M-G-M.— Joan Crawford
is in her real dramatic metier, but the film is
highlighted by Edward Arnold's superb drunk scenes.
Gene Raymond and Franchot Tone do fine work.
Thoroughly entertaining. (July)

SCARLET EMPRESS— Paramount.— An unin-
spired presentation of the life of Catherine the Great,
with Marlene Dietrich as the princess, and Sam Jaffee
as Grand Duke Peter. John Lodge, Louise Dresser.
Exquisite settings. (July)

Photoplay Magazine for January, 1935

I I I

SCARLET LETTER, THE— Majestic— A revival
f the classic with Colleen Moore. Hardie Albright
nd little Cora Sue Collins turning in convincing
erformances. (Oct.)

SCHOOL FOR GIRLS LIBERTY— Life in a

iris reform school, in the raw. Sidney Fox. Lois
Vilson. Paul Kelly try hard, but it's a wearisome
arn just the same. (Nov.)

Fox.

Janet

k SERVANTS' ENTRANCE

W Gaynor devotees will enjoy seeing her in this
ury-tale story as wealthy Walter Connolly's daugh-
•r in love with chauffeur Lew Ayres. (Oct.)

SHE HAD TO CHOOSE— Majestic— After
basing her old Ford as far as Buster Crabbe's
ariiecue stand, there's lots of excitement for Isabel
ewell. Good comedy. (Oct.)

SHE LEARNED ABOUT SAILORS— Fox —

fast, clean comedy in which sailor Lew Ayres finds
lenty of opposition when he tries to get gay with
.lice Faye. Mitchell and Durant mix tilings up
lenty. Harry Green fine. (Sept.)

k SHE LOVES ME NOT— Paramount.— Smart
AT treatment of the stage success puts this way out
ont as clever entertainment. Bing Crosby gives an
-1 performance, and you will meet a brand-new
liriam Hopkins. (Sept.)

SHE WAS A LADY — Fox. — Just so-so entertain-
lent. with Ralph Morgan married to his mothers
laid, Doris Lloyd, and Helen Twelvetrees as their
aughter. Excellent performances. (Oct.)

SHOCK — Monogram. — A sentimental and im-
robable story of the World War, in which officer
lalph Forbes leaves bride-of-a-day Gwenllian Gill to
;turn to the front, only to be shell-shocked. (Oct.)

k SHOOT THE WORKS— Paramount. —
*T Heartaches and rib-tickles of "show business"
ut to music and woven into a top-notch story. Jack
'akie and Ben Bernie excellent. Tragic note is
resence of the late Dorothy Dell and Lew Cody.
Sept.)

SISTERS UNDER THE SKIN— Columbia.—
lever dialogue and well-shaded portrayals by Frank
loigan, Elissa Landi, Doris Lloyd and Joseph
childkraut makes this worthwhile film fare. (July)

' 6 DAY BIKE RIDER— First National.— Typical
oe E. Brown, plus thrilling racing and good gags,
ity slicker Gordon Westcott steals Joe E.'s girl,
laxine Doyle. But Joe E. outpedals Gordon and —
;rank McHugh good. (Dec.)

SMARTY— Warners.— This marital game in
■liich Joan Blondell switches from Warren William
i Edward Everett Horton, then back to William
gain, manages to be quite amusing. Claire Dodd
nd Frank McHugh help. (July)

SMOKING GUNS— Universal.— Perhaps chil-
ren will like this Ken Maynard horse opera, but it's
retty certain the oldsters won't think much of it.
lloria Shea. (July)

SORRELL AND SON— British & Dominion-
fnited Artists. — Warwick Deeping's famous story of
he love of a father and son is beautifully told.
I. B. Warner splendid. (Aug.)

SPRINGTIME FOR HENRY— Fox.— Ace high
erformances by Otto Henry Kruger and Nigel
"ohnny Bruce, both under Spring's influence. A gay,
laughty whimsey, with Nancy Carroll, Heather

.ngel and Herbert Mundin. (July)

STAMBOUL QUEST — M-G-M. — Myrna Loy
/ell cast as the compatriot of Mata Hari. George
ilrent is an American doctor, Lionel Atwill a Secret

ervice man, and C. Henry Gordon once again the

illain. Good suspense. (Sept.)

STAR PACKER, THE— Monogram.— Discover-
lg the identity of The Shadcnu (George Hayes) is no
asy task, but John Wayne comes through in fine
tyle. Verna Hillie. (Sept.)

STINGAREE— RKO-Radio.— An unusual pro-
uction, having Australia for locale. Irene Dunne's
oice is exquisite, and Richard Dix, as the bandit
lingaree, ably portrays his character. Conway
'carle, and good support. (July)

STOLEN SWEETS— Chesterfield.— Pretty poor
creen fare, with Sallie Blane as the heiress who
an't make up her mind between the nice boy she's
ngaged to and the second-rater she's ir love with,
Charles Starrett. (A ug.)

L, STRAIGHT IS THE WAY— M-G-M.— De-
W termined to go straight after a "stretch,"
'"ranchot Tone fights influence of the old mob led by
ack LaRue. Powerfully constructed drama. May
lobson and Karen Morley. (Oct.)

STRICTLY DYNAMITE— RKO-Radio.— De-
spite the popular cast — Lupe Velez, Jimmy Durante,
William Gargan, Norman Foster, Marian Nixon,
Sterling Holloway — this is a pretty weak attempt at
humor. (July)

STUDENT TOUR— M-G-M.— A floating college
used for a musical background. Charles Butter-
worth, Jimmy Durante, Phil Regan, Maxine Doyle,
Nelson Eddy, Monte Blue, Florine McKinney. (Dec.)

SUCCESSFUL FAILURE, A — Monogram. —
William Collier becomes a philosopher of the air,
bringing fame and welcome cash to his surprised
family. Lucille Gleason. Russell Hopton, Gloria
Shea, William Janney. (Dec.)

• SUCH WOMEN ARE DANGEROUS—
Fox. — Splendid casting, genuine situations,
suspense, and deft direction put this up with the best
of them. Warner Baxter is a novelist, and Rochelle
Hudson the young poetess infatuated by him. Mona
Barrie. (July)

• TARZAN AND HIS MATE— M-G-M— A
breath-taking production that skilfully blends
realism and fantasy. Tprzati Johnny Weissmullcr,
Maureen O'Sullivan and Neil Hamilton are aptly
directed by Cedric Gibbons. Perhaps too gory for
young children. (July)

TELL-TALE HEART, THE — Clifton-Hurst
Prod. — This gruesome Edgar Allan Poe tale is effec-
tively screened, but it is not recommended for
children. All-English cast. (Sept.)

THAT'S GRATITUDE— Columbia.— An amus-
ing story, written, directed and acted by Frank
Craven. Helen Ware, Arthur Byron, Mary Carlisle,
Charles Sabin in good support. (Nov.)

THEIR BIG MOMENT— RKO-Radio.— ZaSu
Pitts and Slim Summerville are the only recommenda-
tions for this vague and sometimes confusing film.
Dialogue mediocre and gags aren't too funny. (Oct.)

THERE'S ALWAYS TOMORROW— Universal.

■ — Frank Morgan turns in top-notch job as taken-for-
granted father. Binnie Barnes, Lois Wilson. (Nov.)

• THIN MAN, THE— M-G-M.— See retired
detective William Powell fall right "into"
the baffling murder case he wouldn't go "on," and
have the time of your life. Myrna Loy top-notch.
(Aug.)

THIRTY DAY PRI NCESS— Paramount —
Sparkling humor, with a touch of satire in this yarn
about mythical-kingdom princess Sylvia Sidney's
eventful visit to America. Cary Grant handles his
role with finesse. (July)

365 NIGHTS IN HOLLYWOOD— Fox— No

justice to its locale. Jimmy Dunn, a has-been
director, makes a comeback and wins leading lady
Alice Faye. Frank Mitchell, Jack Durant bright
spots. Grant Mitchell. (Dec.)

TOMORROW'S CHILDREN— Bryan Foy Prod.
— An argument against the delicate subject of
sterilization for the habitual drunkard, the weak-
minded and the congenitally crippled. Sterling
Holloway. Diane Sinclair. (Aug.)

TOMORROW'S YOUTH — Monogram.— Dull.
Philandering husband John Miljan. Wife Martha
Sleeper. Other woman Gloria Shea. Near tragedy
to son, Dickie Moore. He's touching. (Dec.)

TRAIL BEYOND, THE— Monogram.— Sup-
posedly a Western, but — Anyhow, gorgeous scenery,
beautifully photographed. John Wayne, Verna
Hillie, Noah Beery, Robert Frazer, others. (Dec.)

• TREASURE ISLAND — M-G-M. — A
beautiful, moving, inspiring adventure film for
children and grownups alike. Lionel Barrymore,
Jackie Cooper, Wallace Beery, Chic Sale, Otto
Kruger and Nigel Bruce have the leading roles.
(Sept.)

*20th CENTURY— Columbia.— Fast-moving,
hilarious comedy, satirically veneered. As the
eccentric producer, molding shop-girl Carole Lom-
bard into a star, John Barrymore is superb. Walter
Connolly and excellent supporting cast. (July)

TWIN HUSBANDS— Invincible.— Lots of sus-
pense, action and romance, but the story is a bit too
melodramatic. John Miljan, as a polished crook,
does a good acting job. Shirley Grey. (Aug.)

TWO HEADS ON A PILLOW — Liberty. —
Smooth, well-rounded, amusing semi-farce, with
Miriam Jordan and Neil Hamilton, both lawyers,
opposing each other in court over the subject that has
caused their separation. (Sept.)

UNCERTAIN LADY— Universal.— A comedy of
errors, with Edward Everett Horton making most of
the errors, and Genevieve Tobin willing to divorce
him if he'll find her another husband. (July)

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I 12

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WAGON WHEELS— Paramount.— Familiar Zane
Grey Western plot. But there is a good song — and
Gail Patrick. Randolph Scott is hero; Monte Blur,
the villain. (Nov.)

WAKE UP AND DREAM— Universal— A field
day for June Knight, Roger Pryor and Henry
Armetta, despite the late Russ Columbo's unsur-
passed vocalizing. (Nov.)

WEDNESDAY'S CHILD — RKO-Radio. — A
moving preachment against divorce. Edward Arnold
and Karen Morley. Frankie Thomas the child
victim. Should see him; he was in the stage plav.
(Dec.)

• WE LIVE AGAIN— Samuel Goldwyn-United
Artists. — Tolstoi's "Resurrection'' again. But
that simple story is given such a sincere humbleness
it plumbs your heart. Anna Sten, Fredric March,
and an excellent supporting cast give it to you. (Dec.)

WE'RE NOT DRESSING— Paramount.— Sailor
Bing Crosby romancing with wealthy Carole Lom-
bard, George Burns and Gracie Allen do a knock-out
show. Lots of grand songs, too, with Ethel Merman
doing her bit. (July)

WE'RE RICH AGAIN — RKO-Radio. — This
merry marital madhouse revolves around a family's
attempt to marry off Joan Marsh to wealthy Reginald
Denny. But country cousin Marian Nixon gets him
in the end. (Sept.)

• WHAT EVERY WOMAN KNOWS —
M-G-M. — Expert adaptation of the James M.
Barrie play, brilliantly acted by Helen Hayes, Brian
Aherne and capable supporting cast. A sly, human
fantasy, delightfully real. (Nov.)

WHEN STRANGERS MEET— Liberty— The
Grand Hotel idea, applied to a bungalow court,
where two murders occur. Richard Cromwell and
Arline Judge supply the love interest. (Aug.)

• WHERE SINNERS MEET— RKO-Radio.—
A bachelor's hobby of waylaying couples
eloping over the Dover Road, provides interesting
screen material. Clive Brook, Diana Wynyard,
Billie Burke, Alan Mowbray, and especially Reginald
Owen give brilliant performances. (July)

WHIRLPOOL— Columbia.— Powerful melodrama
in which Jack Holt, railroaded on murder charge,
fakes death notice to free wife Lila Lee. Later, he
makes even greater sacrifice for daughter Jean
Arthur. Donald Cook. (July)

WHITE HEAT— Seven Seas Prod.— A fistic com-
bat between David Newell and Hardie Albright, and
a sugar cane fire help to liven this film with Hawaiian
locale. Mona Maris and Virginia Cherrill adequate.
(Sept.)

WHOM THE GODS DESTROY— Columbia-
Heavy melodrama, impressive because of fine acting
of Walter Connolly. Dori? Kenvon, Robert Young.
(Oct.)

WILD GOLD — Fox. — Good cast, but this misses
being the saga of the old ghost mining towns by a
long shot. John Boles plays drunken engineer in love
with Claire Trevor, and Roger Imhof is a desert
prospector. (July)

WITCHING HOUR, THE— Paramount.— If
hypnotism has any appeal, you'll enjoy this screen
version of Augustus Thomas' famous play. John
Halliday, possessor of uncanny hunches, Tom Brown,
Judith Allen, Sir Guy Standing all do well. (July)

WOMAN COMMANDS, THE— Gaumont-Brit-
ish. — An all-English cast, with exception of Edward
Everett Horton who has appeared to better ad-
vantage. Just so-so comedy. (Aug.)

WORLD MOVES ON, THE— Fox.— Madeleine
Carroll, English beauty, begins her American film
career in this somewhat uneven picture. Franchot
Tone and Dudley Digges turn in suave performances.
(Sept.)

• YOU BELONG TO ME— Paramount-
Master David Jack Holt manages to outshine
troupers Lee Tracy, Helen Mack, Helen Morgan,
though they are all in top form. (Nov.)

YOUNG AND BEAUTIFUL— Mascot— Perhaps
the array of 1°34 Baby Wampas Stars and fact that
it is Bill Haines' "comeback" will compensate for
weakness of plot. (Nov.)

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Salute May Robson!

One — a beautiful ingenue, herself. One as
Tilly, a slovenly servant girl.

The play, "The Hoop of Gold," opened on
September 17, 1883, and in her very first per-
formance May learned the most valuable lesson
of her whole career.

HpHE audience took the beautiful ingenue for
■*■ granted. But they shouted with laughter
at Tilly. So May decided then and there to play
characters, and only characters. The satisfac-
tion of looking beautiful couldn't compare with
the laughs and the applause one rated for being
funny.

It was a smart decision.

Her husband died, and several years later
she married Dr. A. H. Brown, who was then a
young Harvard medical student. This was an
ideally happy association. Always devoted
and considerate, Dr. Brown never wished to
interfere with his wife's career on the stage;
rather, he encouraged it. He became a surgeon
with an extensive practice, and May became a
Frohman star. Dr. Brown died in 1923, after
more than thirty years
of an ideally happy mar-
riage.

Long before this,
May's friendship with
Marie Dressier had been
formed, and once they
made a memorable trip
to England on a storm-
tossed old steamer, quite
positive they would
never reach the shore
j alive.

May played " The
Rejuvenation of Aunt
Mary" over there and
then for a four-year run
without a break in New
York. It is one of the
theatrical successes that
will go down in history.
She never had a failure
on the stage and never
closed a play with less
than a season's run.

In 1924, she starred
in several silent pictures
'for Cecil B. DeMille.

Her first starring
jsound picture was" You
Can't Buy Everything,"
but her greatest personal
[success was "Lady for a
Day" made at Columbia
by Frank Capra. She has
just made another one
'there, ''Lady By
Choice," which almost
jtops the first.
I She recently finished
['Woman Aroused" at
RKO, and she loved
■ his story of an old-
naid school-teacher
vhose life is wrapped up
in her boys and girls.
I She will do "The Mills
')f the Gods," for Co-
lumbia. This time a
. trong-willed and deter-
nined old lady.

[ CONTINUED FROM PAGE 67 ]

Then she thinks it will be time to go to New
York and take a long rest.

May's favorite characters are the inebriated
old bats, as in the two "Lady" pictures.

"When I go out, I am not ashamed to ask
for a glass of tomato or orange juice, when the
others are drinking stronger things," she says.
"I am an old lady, you see, so I have to be
humored.

" But I have observed many inebriates in my
day, and my characterizations are taken from
them. The business with the hat, in 'Lady By
Choice,' was a direct study of a woman I used
to know who sometimes took a drink too many.
She was never concerned about anything but
her hat.

" 'Where's m' hat, oh dear, oh dear, what
did I do with my hat?' she would moan.
Nothing else ever concerned her.

"You have to love your work or you can't
do it well. You have to be looking for ways to
improve it, and my way is by watching people."

May has a poor memory for names, and she
and Miss Harmer have developed a pretty

Florine McKinney, feminine lead of "Night Life of the Gods," the story

of a museum full of statues on the loose, has a little fun with her plaster

double in the Universal production

good system on this. Some one comes up to
talk with them, and May can't remember his
name.

She squeezes Miss Harmer's arm, and Miss
Harmer says, "We were so delighted, Mr.
Splivvits, to read of your daughter's success,"
or some such statement in which she can in-
corporate the name.

/"\NE recent evening when Miss Harmer
^wasn't near, May was certainly in a pre-
dicament.

She had been to a man's house where
there is a perfectly remarkable parrot.

(May is very fond of birds and has hundreds
of them.)

The parrot had a trick of standing on one's
forefinger and saying "tickle, tickle."

One night at a theater, May thought she saw
the owner of the parrot. In a panic, she tried
to think of his name. That failing, she ad-
vanced and squeaked, "Tickle, tickle," think-
ing at least that would let the man know she
remembered him. He looked at her with a
totally blank expres-
sion. She tried again.
"Tickle, tickle," said
May, coyly. A look of
fear, amazement — acute
discomfort spread over
the man's face as he
backed away and quickly
disappeared.

Miss Harmer re-
turned just in time to
see his face, and May
told her the episode.
"Buthewasn' t the man,"
explained Miss Harmer.
Well, you can't expect
to keep all the people
straight, May laughs.
She hopes the man, who-
ever he was, will see this
and find out that she
was not loony at the
time.

"X A AY is, surprisingly,
■lv-Lonly five feet, two
inches tall.

She weighs a hundred
and fifty pounds, and is
always beautifully and
appropriately dressed
and groomed.

She lives in a small,
comfortable, unostenta-
tious house, in a section
of Hollywood where you
seldom find picture
people. The neighbors'
youngsters run in to see
the birds, and to hear a
story as only May can
tell it.

She swaps recipes with
the neighboring house-
wives.

Dignity, activity,
ability — the dominant
factors in May Robson's
life.

"Salute," then, to a
grand old girl!

113

Mr. Broadway Gambles Against Hollywood

CONTINUED FROM PAGE 38

had written forty plays himself — among them
successes such as "Get-Rich-Quick Walling-
f ord," " Forty-Five Minutes From Broadway,"
"The Miracle Man," "Seven Keys to Bald-
pate," "The Song and Dance Man," "The
Tavern," and many others. Whether Holly-
wood remembered or not, the script of "The
Phantom President" was never given benefit of
the Cohan touch!

TN the second place, when Cohan went to
Hollywood he took his transposing piano
along. But he never had a chance to use it.
The whole world had marched to his "Over
There," and his " Sidewalks of New York " had
become a political anthem. "The Phantom
President" would have been helped immeasur-
ably by a stirring song.

And Cohan was hanging around the studio
idle, anxious for something to do. But nobody
seemed to want George M. Cohan to write
music.

Added to these situations, Cohan was home-
sick for Broadway. It's been home sweet
home to him most of
his life.

So, if the nation's
movie public is going
to get well acquainted
with the famous Song
and Dance man, it
looks like it will have
to be in Eastern-made
pictures.

Not that movie-
making, even in the
East, is looked upon
gladly by Cohan. He
isn't very enthusiastic
about facing motion
picture cameras any-
where. If he were, he'd
be a big Hollywood
star now instead of
Mr. Broadway.

Even back in 1916-
1917, when Cohan
made his first excur-
sion into picture-mak-
ing, eventually filming
six of his Broadway
plays for Artcraft, he
wasn't very enthusi-
astic. Well launched
then in the first boom
days of pictures, he
dropped the work and
scurried back to Broad-
way. He didn't look a
camera in the eye until
he was talked into the
unhappy "Phantom
President" experience
in 1932.

Ask him now if he
likes working in pic-
tures and he'll answer
slowly, "Well, I guess
it's that I don't like
getting up so early in
the morning. Work
over here at the studio,
you know, starts at
eight A.M. That means
rising at six for me."

But watch him on the "Gambling" set and
you suspect the six o'clock rising is a minor and
superficial reason for his lack of enthusiasm.

Picture making is obviously a tedious busi-
ness for Cohan. The stage is his element. He
was born in it. He came to the Astoria studio
with the applause of many audiences still ring-
ing in his ears. His acting for the Theater
Guild, in Eugene O'Neill's "Ah, Wilderness,"
probably was last season's most admired per-
formance. He played his first big role forty-
four years ago, as the juvenile lead in "Peck's
Bad Boy." For nearly half a century since he
has been working in the theater, and much of
that time he has been his own boss. Before he
went to Hollywood he was quoted as having
said, "I haven't worked for anybody since I
was twenty."

But in pictures — even if you're a pal of the
producer's — you're working for several people.
Pictures are closely directed. Working in a
movie, Cohan must act on a chalk-mark. If he
steps off the mark — "Cut! Cohan's out of
camera range!" And the scene must be re-

A bicycle that was not built for two. And neither Jack Oakie nor Helen

Mack appears to know quite what to do with it. The pair were cavorting

around the Paramount lot when surprised by the cameraman

taken. Yes, pictures are closely directed. Mr.
Cohan must raise his hand just so high, he
mustn't take a step on that line, he mustn't
turn or the shot will be out of focus. Of course,
he wrote the play, but Mr. Cohan must not ad
lib. Lines must be followed precisely or the
others miss their cues. But Mr. Cohan, accus-
tomed to the freedom of the stage, ad libbed.
The scene must be shot again. Over and over
and over. On a narrow set, without an audi-
ence, directions to be exactly followed, lines to
be memorized and repeated precisely.

/^^OHAN usually has been his own author,
^^director, often his own producer. Why,
much of the time he even owned the theater he
was playing in, for at one time he was landlord
of a number of the legitimate houses on Broad-
way.

However, throughout the tedium ot filming
"Gambling," George M. Cohan retained his
Irish good nature, his quiet sense of humor.

''I don't know whether I'll make
another picture here or not," he said. "Wait
till I see this one, then
maybe I can tell. Just
now I'm so worried
about 'Gambling,' I
can't be bothered with
future picture plans."
It's undoubtedly im-
portant to Cohan that
'Gambling' be a suc-
cess. For many years
he has been one of the
most successful men in
the show business.
And the standards he
sets for himself are
high.

But more than that,
Cohan undoubtedly
wants to show Holly-
wood what he can do,
making a movie in a
friendly, sympathetic
atmosphere. Probably
it's more correct to say
he wants to show
Hollywood what he
can do, making a movie
in New York. For
Cohan is a man of ter-
rific loyalties and great
patriotism.

He is Cohan, the
flag waver, Mr. Yankee
Doodle. And his patri-
otism is pretty strong
where Broadway is
concerned. "Gam
bling" is a Broadway
play; Franklin is a
Broadway producer.
The picture is being
made twenty minutes
from Broadway, on
Long Island, New
York.

Good? It's got to be
good! It's Mr. Broad-
way's gamble against
Hollywood. And, on
home ground, he's
never lost a bet yet!

Photoplay Magazine for January, 1935

Screen Memories From Photoplay

15 Years Ago

HTHIS issue printed a daring
■*• photograph of a bathing girl,
right in the roto section. She
wore high-laced bathing shoes,
silk hose, a satin-skirted bathing
suit, and a tam-o-shanter. The
lady, ready for her swim, was
Phyllis Haver. She married Wil-
liam Seeman, wealthy New
Yorker, in 1929 and retired.
There was a story about the
happy married life of Wanda
Hawley and Burton Hawley. (She divorced
him in 1921, shortly before his death. The last
we heard of her she was demonstrating cos-
metics.) Harrison Ford, a favorite leading
man of the day, confessed that he could not
dance, but insisted he could cook like a French
chef. There were lots of photographs of the
:hild wonder star of the time, little Frankie
Lee, who made a name for himself in "The

Phyllis Haver

Miracle Man." Proof that mo-
tion pictures were beginning to
be taken seriously was evidenced
by an announcement that
Columbia University had estab-
lished a Department of Photo-
play Composition for college stu-
dents who wished to become
scenario writers. It was revealed
that Harold Lloyd's specs didn't
contain any lenses. Another illu-
sion smashed! The slow motion
camera, a new invention, was being used in
treating crippled soldiers. The slow movement
enabled physicians to detect the cause of faulty
limb movements. Best movies included the
Douglas MacLean comedy, "Twenty-three and
a Half Hours' Leave"; "In Old Kentucky,"
with Anita Stewart; "Strictly Confidential,"
with Madge Kennedy; Dorothy Dalton in
"L' Apache." Cover — Norma Talmadge.

10 Years Ago

Josef Von Sternberg

TOSEF VON STERNBERG

had just finished directing " The
Salvation Hunters," featuring
jeorge Arthur and Georgia Hale.
The movie, considered a knock -
>ut by critics, cost only forty-five
mndred dollars. ("Scarlet Em-
press," Josef's latest film, cost
wo hundred times that amount.)
'^o studio was interested in "The
Salvation Hunters," and it had
o be financed by selling shares.
Doug Fairbanks was a major shareholder.
»Iary Pickford was so impressed by the film
he wanted Von Sternberg to direct her next
licker. He has never directed a Pickford
novie, however. The stars were all busy
aaking New Year's resolutions. Among those
hat were kept was Norma Shearer's resolution
lot to marry during 1925. (Her marriage to
"halberg was in 1927.) Fortunately, Ben

Lyon didn't keep his resolution
to shoot every reporter who
rumored him engaged. The
rumors continued until his mar-
riage to Bebe Daniels, five years
later. Incidentally a story titled
"Hollywood's New Heart-
Breaker" meant Ben. Richard
Dix, just starred by Paramount,
wrote an article for this issue
called "How It Feels to Become
A Star." Gist was, it felt okay.
A current thriller was "The Lost World," with
Bull Montana in a King-Kongish role. Favor-
ite films of the month included Pola Negri and
Adolphe Menjou in "Forbidden Paradise";
Lon Chaney's "He Who Gets Slapped";
Richard Barthelmess in "Classmates"; Richard
Dix in "Manhattan"; "The Siren of Seville,"
starring Priscilla Dean; and Harold Lloyd's
"Hot Water." Cover — Betty Bronson.

5 Years Ago

hILMDOM was breathing

r more easily — Garbo passed

ter voice test, and work could

fegin on her first talkie, "Anna

"hristie." An article, "Garbo-

laniacs," discussed the public's

raze for the Swedish star. Those

'ho said her strange fascination

ould be short-lived were cer-

xinly mistaken! Polly Moran

n a story, " Fifty Years of 'IT',"

Dnfessed the facts of her love

fe. At that time she said her current flame

as Bill Haines. Bill refused to make a state-

lent, denying everything in pantomime. (In

133 Polly married Lawyer Martin Malone.)

ill, incidentally, was just launching on his

iterior decorating career, changing his Spanish

ungalow into a Colonial house. It's hard to

slieve, but on a fashion page titled "Fashions

>r Tots," one of the tot mannequins was Anita

Polly Moran

Louise, in half-socks and a school
dress. Anita is now featured in
grown-up roles, and rumored en-
gaged to Tom Brown. My, my!
How time does fly! The issue
carried a lovely picture of Ann
Harding, husband Harry Ban-
nister and their year-old
daughter. The Bannisters were
divorced in 1932. A chap named
Don Jose Mojica was being
hailed as the new Valentino.
Wonder if they'll ever find one? Films of the
month included Ronald Colman, Ann Harding
and Dudley Digges in "Condemned " ; " Dulcy,"
with Marion Davies and Donald Ogden Stew-
art; Warner Baxter and Mona Maris in
"Romance of the Rio Grande"; John Barry-
more and Marian Nixon in "General Crack";
Constance Bennett and Eddie Lowe in "This
Thing Called Love." Cover — Billie Dove.

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Movie Fill-in Contest Winners

THIRTY-NINE movie followers will soon
be receiving checks to help them with
their Christmas shopping — cash awards
totalling $500.00 for their prize-winning solu-
tions in the Photoplay Movie Fill-in Contest,
which appeared in the July, August and Sep-
tember issues of Photoplay Magazine.

Many thousands of solutions poured into the

FIRST PRIZE— $125.00

Mrs. John W. Umsted
Brownsville Rd., Jackson, Tenn.

SECOND PRIZE— $75.00

Josephine Werner
1017 North 25th St., Kansas City, Kan.

THIRD PRIZE— $50.00

Mrs. F. E. Nimmicke
11 Elliott Place, West Orange, N. J.

FOURTH PRIZE— $25.00

Maurice Nemoy
104 West Queen St., Inglewood, Calif.

TEN $10.00 PRIZES

Ida E. Jackson
202 St. Philip St., Baton Rouge, La.

Miss Lyndell Schwartz
19 Howe St., New Haven, Conn.

__ Mr. & Mrs. R. Tyler Prize
1765 Peachtree Rd., Atlanta, Ga.

Mrs. R. F. Johnst< >.\
2461 North 40th St., Milwaukee, Wis.

Dorothy D. Healey
177 Prospect St., Cambridge, Mass.

Elsie Sperry
1266 Fernwood Ave., Toledo O.

offices of the Puzzle Contest Editors, at
Chicago, from all over this country and foreign
lands.

Weeks of work were necessary to carefully
check each and every one for accuracy in listing
the missing words in the three sets of Fill-ins in
their proper solution ballots.

Neatness and simplicity in the contestants'

Mary Pence
2381 Neil Ave., Columbus, O.

Mrs. W. H. Goldsmith
1319 West 8th St., Anderson, Ind.

Ethel Gates Tasker
5006 Dorchester Ave., Chicago, 111.

Mary Winifred Keefe

Middlesex County Sanatorium, Waltham,

Mass.

method of submitting the solution also was con-
sidered— one of the contest rules.

From this tremendous array of solutions,
first, were selected what, in the belief of the
judges, were the outstanding ones, under the
rules of the contest. Then these were judged
on their individual merits, and the prizes
awarded as follows:

Agnes Hannay
2013 New Hampshire Ave., Washington, D. C.

Beada Batterton
1830 Grant St., Denver, Colo.

TWENTY-FIVE $5.00 PRIZES

Lois Smith
147 Keil St., North Tonawanda, N. Y.

Ruth Scaison
45 East Lincoln Ave., Mount Vernon, N. Y.

Mrs. Celia Power
1083 Fourth Ave., Woodcliff, N. J.

Anna Van Deusen
C. 23, Box 38, Orlando, Fla.

Edna Sadler
1731 East Commerce, San Antonio, Tex.

Mrs. Rovalia Moonie
33 Noe St., San Francisco, Calif.

Laura A. Weikel
105 Ryers Ave., Cheltenham, Penna.

Helen Fairbairn
5400 Queen Mary Rd., Montreal, Canada

Mildred G. Miller
Bennett Hall, Philadelphia, Penna.

Marjorie C. Lawson
126 Florence Ave., Detroit, Mich.

Ethel S. Sherwin
Bismarck, N. D.

Mrs. Ethel Paul
842 Madison Ave., Evansville, Ind.

James W. Blanton
Box 115, Glenshaw, Penna.

George C. Glidden
6 Percival St., Dorchester, Mass.

Iris Marshall
2804 East 132nd St., Cleveland, O

Mrs. S. B. Bailey
39 Hillside Rd., Northampton, Mass.

Mrs. E. F. Bambrick
383}/> Chapel St., Ottawa, Canada

Dorothy Dorey Sullivan
Scarboro-on-Hudson, New York

Lucretia McAllister
616 Bell Building, Montgomery, Ala.

Inez Schackel
Luling, Texas

Yvonne Fraser
East Burnham Grove, Farnham Royal, Bucks,
England

Mrs. Peter Schume
118 Superior Ave., Youngstown, O.

Mrs. George Carson
1309 North 180th St., Seattle, Wash.

The "Rediscovery" of Bill Frawley

MacLean were leading men with the old Mo-
rosco stock company; when Bill Hart founded
the Round Table at the old Bohemian cafe,
the Hoffman, run by Dorothy Arzner's dad;
when Gloria Swanson, Marie Prevost, Phyllis'
Haver, Mary Thurman, Viola Dana and Shir-
ley Mason, Bebe Daniels and Barbara La Marr
might be seen at Vernon, the Ship, Sunset Inn,
or the Tavern, with Mickey Neilan, Lew Cody'
Harold Lloyd, Ford Sterling, Roscoe Arbuckle'
Norman Kerry, Jack Mulhall or Rudolph
Valentino.

Bill can even remember back to the days

116

[ continued from page 58 J

when Santa Barbara, now the swankiest mil-
lionaire's playground in the West, threatened
Hollywood as the film capital.

Bill Frawley can remember all these things
because Bill was once a movie actor in the old
American Film Company in Santa Barbara,
and because he was once a song and dance man
entertaining in Al Levy's Spring street cafe.
Hollywood pioneers can never forget Bill
Frawley and Louise. His partner was a beau-
tiful red-headed girl, his wife. They rank in
cherished Hollywood memories with Paul
\\ hiteman, the Lyman boys, the Sennett bath-

ing beauties, the Keystone Kops, the wild West
cowboy stars, and the above-mentioned hot
spots.

Yes, indeedy, folks, Bill Frawley knew Hol-
lywood when motion pictures were just in their
infancy. (Some say they are still in their
infancy.)

During the last ten years that he has been
building up a reputation on Broadway as a
graduate from the song and dance men ranks,
the Bill Frawley of the Hollywood pioneers
has been forgotten. He is well known for his
press-agent in the stage presentation of

Photoplay Magazine for January, 1935

II7

'■Twentieth Century," and for his performance
with the late Jack Donahue, another song and
dance star, in "Sons O' Guns."

I will admit that Bill has changed somewhat
— but only in looks. He still has those Irish
blue eyes, but he has widened out a bit, fore
and aft.

He still talks out of the corner of his mouth
and greets old pals with a warm grin and that
rich baritone voice.

CPEAKIXG of that baritone voice, the new
^Hollywood picture producing moguls, who
knew nothing of Bill's pioneer days, have just
'"discovered" that the character actor can
warble like a baritone canary. If there is such
a bird. Henceforth, William will be called
upon to lend his distinguished vocal talents to
pictures, even as Bing and the rest of the
warblers.

"Bill," I asked, "how did you happen to
come to California?"

"I was born in Iowa!"

Well, we certainly don't have to go any
further into that.

A brief biographical revelation shows that
;he was born in Davenport, of a highly re-
spected, substantial family.

The males of the family ran mostly to rail-
roads. Work, I mean.

When Bill had managed to get through high
school, he became a traffic inspector on the
Burlington at the age of nineteen. And he
used to entertain the boys on Saturday nights
with those good old barroom ballads. The
sobs in that baritone voice won Bill a pass on
every railroad in the country.
! One night in a Chicago cabaret, a vaudeville
booker heard Bill playing on the customers'
heart-strings. After he had enjoyed his cry,
too, he crooned a siren song in the railroad
Irian's ear.

What was he doing working on a railroad?
iVhy, boy, across those footlights you'll panic
hem and lay them out in the aisles. You know-
hose ten per centers!

Anyway, Bill left the luxury of the Pullmans
lat.

How could he know- that a few- months later
ie would be riding the rods under the same cars
j here he once rolled in ease and comfort?

His boss predicted jail or worse. There was
■ eeping and wailing in the Frawley homestead
1 Burlington.

His mother took on so that even after Bill
ad miraculously landed a singing role in a
'hicago musical comedy, "The Flirting Prin-
ess," he quit the stage as abruptly as he had
uit the railroad.

^OR nearly a year the broken-hearted bari-

,' tone pored over musty books in his uncle's

tilroad office in East St. Louis. He saw only

otes in the dry traffic words. Finally he grew

) indifferent that his uncle fired him. Within

few hours the escaped prisoner had fashioned

[vaudeville act, persuaded his brother Paul to

- 'in him (Paul sang tenor), and jumped head-

ng into a precarious stage career. Eventually

I iey played Burlington — for three days — and

hen Mother Frawley was persuaded to see

<\d hear them in person on the third and last

ght — she broke down and cried right out

(. jdd in the theater.

The boys were delighted with their mother's

iction to their renditions — until she got back

the dressing-room.

"Boys, I knew you were bad," she said be-
1 een sobs, "but I never dreamed you were
is bad. For the love of the saints, will you
me back home and get a job on the rail-
id?"

■i

Except to say that they didn't take mother's
advice, we will pass very quietly over the next
two years of hit and miss. Bill "pioneered"
night club singing in such towns as Denver,
Salt Lake City, and San Francisco, where he
became a favorite. He would send for Paul,
and Paul would follow him right in. It was a
swell brother act.

In Denver, Bill met a beautiful red-headed
girl named Edna Louise Bloedt, and persuaded
her to take a chance in marrying an itinerant
troubadour.

Out of this marriage a famous vaudeville
team was born — Frawley and Louise.

One time when Bill and his Louise were
trouping through Texas, he found himself
booked into Juarez, Mexico. Rather a quaint
idea, too, even for a booker, as the Mexicans
didn't understand English, and Bill couldn't
speak Spanish.

TN' less time than it takes to say "Adios,

amigos," the Frawleys found themselves tem-
porary residents of El Paso, without benefit of
money.

Bill ran into an old pal, Jack Curley, who
was then trying to promote the Jess Willard-
Jack Johnson fight in Juarez, with the favor of
Pancho Villa.

If you want to know why Bill Frawley
scored a hit on the New- York stage as the
rough, tough, cynical press-agent in "Twen-
tieth Century," I refer you to the days when
he became press-agent for the fight and secre-
tary to Jack Curley.

Only, the fight never came off — that is, in
Juarez.

The promoters folded their tents, as it were,
and faded away into the night, Havana-bound.
They forgot to take Bill with them, so the bud-
ding p.a. was left holding the sack with the
El Paso Chamber of Commerce.

So, Bill and the Chamber of Commerce head
man got together and put on a whale of an
Elks' benefit, which pleased the Elks so much
that they presented Frawley and Louise with
enough money to get to Santa Barbara. Why
Santa Barbara, you say?

Oh, just another one of those optimistic
vaudeville bookers.

At this point Bill got smart. He put his
beautiful wife in the act, as the piano player
had departed eastward.

Louise didn't know the wings from the flies,
but she was game.

They opened in Santa Barbara and knocked
them hotter than a Harlem dancing contest.
Next day the movie gang from the American
Film Company called in a body at their hotel.
They had heard Bill sing and they had seen
Louise.

"DILL claims that all they really saw was

Louise, but he rented a dress suit and
became a movie actor, too. For a year the
Frawleys acted with Frank Borzage, then a
juvenile; the late William Russell, Harold
Lockwood, May Allison, Roy Stewart, Neva
Gerber, and other favorites.

But their fame as a song and dance team
brought them so many more lucrative offers
from Hollywood that they soon found them-
selves hobnobbing with the great and near-
great in the favorite night spots of that pioneer
day.

Many years later, in 1927 to be exact, the
team of Frawley and Louise split for keeps.
She went her way and he went his way.

Now that the new Hollywood has found Bill
Frawley out, they can take it from another
pioneer that he wears the same hat.

I knew him when!

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Kitty Crashes Fame

CONTINUED FROM PAGE 43

as bubblingly refreshing as Dry Monopole, he
set about the baffling business of trying to con-
vince a career-minded rich girl that she should
hearken to the tap of opportunity, when she
wanted to but was still afraid to.

Well, Kitty finally gave in, and when the
show closed its run on Broadway, she made her
first trip to California for a part in "Murder At
The Vanities." But Hollywood dates her from
the time she went to town with Bing in "Love
in Bloom."

"•"PHAT song seems like a child of mine or
something," Kitty confessed in the privacy
of her brand new and very fancy blue dressing-
room, which still reeked of turpentine and
white lead. "I mean, it keeps following me
around." She nodded across the studio to the
music department where Bing Crosby's
recorded split-larynx was crooning: "Can it
be the spring — "

A passing bicycle messenger joined in
whistling the chorus, and the carpenters on a
nearby set kept time tapping home nails.

But the strangest thing about Kitty's suc-
cess and her songs, is that she has clicked
rendering popular numbers, after devoting
years to a study of classical music abroad.

After childhood schooling in Switzerland and
her society debut in Rome, she deserted the
gaiety of the Continental social whirl to devote
herself seriously to becoming an opera singer.
Cunnelli of Paris and Mme. Kaszowska of
London groomed her for an European operatic
career, and practically disowned her when she
decided to come to America and get a job in a
show.

Though Kitty was born in New Orleans,
Catharine Carlisle ("there were fifteen 'Cath-
arines' in the first school I ever attended, so

they had to call somebody 'Kitty',") grew up
abroad, learned to speak French, Italian and
German like a native, and probably would to-
day be singing arias from " Rigoletto" in
London if England hadn't gone off the gold
standard.

" I don't know that that had anything to do
with it," giggled Kitty, "but in order to sing in
London, I had to get a labor permit. I asked
for it the day England went off the gold
standard, and they turned me down — said I'd
be taking the money away from English
singers — so I've always blamed it on the gold
standard." That amazing, paralyzing, hypno-
tizing laugh again.

America, even for an expatriate, was still the
land of opportunity — especially Hollywood,
although at first Kitty was a bit wary of how
she and the movies would hit it off.

" You know, I'm not beautiful," she insisted,
"and I wasn't so sure I could act very well. At
first my face twitched — every time I came any-
where near a camera it twitched. It's a little
disconcerting trying to act with a twitching
face. And when I finally got over that I
started worrying about singing with Bing."

Doesn't she like Bing?

"I'm mad about him — I mean about work-
ing with him. But you know he simply won't
rehearse songs. Not even once. Says he gets
stale — and I'm just no good at all, at im-
promptu singing. So when we sing together, I
start worrying. About everything. I worry
about the harmony. I worry about the tempo.
I worry about the key. I ask Bing if such and
such a key is all right and he says, 'Oh, sure,'
just like he isn't giving it a thought — so I know
we'll be singing in entirely different keys when
we start.

"Of course, everything comes out all right,

but at first it made me nervous just to walk
right up to the camera and start singing with-
out any rehearsals at all. The first few times
I'm afraid we went goggling off in entirely
different directions. But I've got used to it —
I've had to, because Bing just won't rehearse."

Just at this point Bayard Veiller, the play-
wright, looked in on the elegant blue dressing
room and after recovering from its splendor,
the turpentine and white lead, and Kitty's
electric charm, he wanted to know when "the
beau" was coming out. "Soon," said Kitty,
"any day now."

The beau?

" Don't tell a soul," said Kitty, sotto voice,
after he had left, "but there isn't any beau!
You know, everyone here at the studio believes
I have a mysterious sweetheart in New York.
He's always 'coming out.' Really it's a grand
idea; it makes me very intriguing, and exciting.
But really, I haven't any sweetheart."

What, no sweetheart?

" f^H, I have had," admitted Kitty, dimpling
^^^ her pretty brown eyes with a tremendous
grin. "In Rome I fell in love with the son
of the Brazilian ambassador, but 'Mummy'
stopped that. He wasn't the right man.

"But right now I think I'm in love with my
work Honestly, I'm crazy about it. I get up
at six in the morning and just can't wait to get
started. I love every minute of it."

"Here Is Your Heart?" I asked.

"Here Is My Heart," smiled Pretty Kitty.
" Perfect — but honestly, nobody's in love with
me."

Of course, that's where Miss Kitty Carlisle
is wrong.

Because everyone in Hollywood, including
me, is simply crazy about her.

Tom Meighan Is Restless

CONTINUED FROM PAGE 83 ]

delineator of character. But it is also more. It
is an indication of the thoroughness of Thomas
Meighan. Nothing but the best will do.

You see, first, Meighan has picked himself
an original character. (This writer, when the
name was whispered to him, breathed his
amazement that it had been overlooked. It's
what is called a natural.) Then, secondly,
Thomas wants that character at his best ad-
vantage.

Thus the importance of the writer.

•"TOMMY MEIGHAN, above all, insists on his
characters being themselves, natural.

And he has his reasons for all this.

"I can't," he said, "play anything unless it
is believable. It causes me actual agony. I
know. I've tried to do it. In addition, let me
add, a part must not be merely believable, it's
got to be interesting."

So much for the story Tom has in mind. For
the success of the screen version, he rates a
director as top man there. "I would rather,"
he said, "work on a second rate story with a
first rate director, than on a first rate story
with a second rate director. And yet," he quali-

118

fied, "no individual is wholly responsible for
any particular picture."

Now, during all this discussion, there was
nothing said by Thomas Meighan about
Thomas Meighan's ability. Getting self-praise
out of this man is like trying to turn a well
inside out. It may be possible, but I have my
doubts. Whoever coined the word "modesty"
must have used Thomas Meighan for his
model.

And Tommy will like that, should he read
it, because he insists he's the most boring
gabber on the subject of Meighan that ever
came along the pike.

But it isn't necessary for Tommy to talk
about himself. Others have done that very
nicely, and with enjoyment.

For instance, here's one writer on Tommy's
acting ability: ". . . as true in his depiction of
emotion as Tellegen used to be when he played
on the stage with Bernhardt." For good meas-
ure, here are a couple of other remarks culled
at random from volumes of comment about
him: ". . . second to no man in popularity," and
". . . career unparalleled in his profession."

Just to heap up that good measure on this

"boring" person, here are some of the names of
producers, writers, actors and actresses, with
whom he's been closely associated on and off-
stage. This is not a full list, mind you, merely a
few plucked here and there from the records:
David Warfield, George M. Cohan, Henry W.
Savage, William H. Crane, William Collier, Sr.,
Booth Tarkington, George Ade, Grace George,
Pauline Frederick, Blanche Sweet, Billie Burke,
Valeska Suratt, Laura Hope Crews, Lois Wil-
son, Lila Lee, Norma Talmadge, Elsie Fer-
guson, Betty Compson, Gloria Swanson, Mary
Pickford — Enough? One more. Frances Ring.

rTTO Miss Ring goes top billing, because she is
still the leading lady. In fact, she has been
since she and Mr. Meighan met in George Ade's
first play, the first of a number the noted hu-
morist has written for Tommy. The play was the
well-known, three-seasons success, ' ' The College
Widow." It was during the run of that play
Miss Ring became Mrs. Meighan, and theirs is
still one of the few stage and screen romances
with any permanence.

But, some more about the interview with
Mr. Meighan. Naturally, I spoke of "Peck's

Photoplay Magazine for January, 1935

II9

Bad Boy." And, after again trying unsuccess-
fully to get something out of him about him-
self, other than that he enjoyed the part and
the company, I asked about Jackie Cooper and
Jackie Searl.

Then he flashed the Meighan 'smile and
talked.

Suffice it to say that Tom sees them both
as grand fellows, both real boys.

He also praised them right up to here as
it tors of definite ability — and their own
ability, he emphasized.

"CROM there, I went somewhat reminiscent.
■*- I mentioned "The Miracle Man." Who
wouldn't talk about that great picture with
Thomas Meighan? In fact, that was probably
Tom's greatest picture. Julian Johnson, writing
in Photoplay Magazineat the time.saidof " The*
Miracle Man" and of Lillian Gish's "Broken
Blossoms" ". . . the screen has not only failed
to furnish their equals, but nothing which in
any way compares with them."
! Also I mentioned another great picture of
his, based on "The Admirable Crichton,"
which came out under the title of "Male and
Female." Gloria Swanson was the feminine
ead.

I asked Tommy if he'd like to do again either
of these two.

The answer was another insight into the
character of the man Meighan.

" I never," he said, " try to play anything
younger than I feel. Those two pictures were
done some years ago. Also, I don't like to go
back to anything."

Yet, in how "The Miracle Man" came to
life as a movie at all serves as an illustration of
Mr. Meighan's ever-present determination to
carry out a particular idea as he sees it.

It is typical of his present directed rest-
lessness.

T_TE read "The Miracle Man" as a magazine
story. He saw in it a perfect movie. But he
was alone in this thought. But that was no
drawback to Tommy Meighan. He was con-
vinced he was right.

So, he organized an independent company
and produced the picture.

What happened is glorious history. And,
the possibilities are strong that history is
just about due to repeat itself.

Because Tommy Meighan is restless with an
idea he knows is good. And, he's gone to Holly-
wood with it.

The Fan Club Corner

Mi
!

EMBER clubs of the Photoplay As-
sociation of Movie Fan Clubs, atten-
tion! All fan club correspondence, and
natters pertaining to the Association, should
3e addressed to the New York offices of Photo-
play Magazine, 221 West 57th Street, New
York City. Club secretaries should, hereafter,
i;end all reports, inquiries and news bulletins
to the above address.

CANS everywhere will be happy to learn that
the international Francis Lederer Fan Club
s now a member of the Photoplay Associa-
ion of Movie Fan Clubs. The purpose of the
:lub, as stated by the president, is "To put
:hinking people all over the world in touch
vith one another so that they may exchange
deas, broaden their views, and improve their
cnowledge of how the rest of the world thinks,
icts and lives." The club paper is called
'Czechago" and appears monthly. Head-
quarters of this fine organization are at 4341
North Albany Ave., Chicago, 111. Miss
Beatrice Kramer is acting secretary. She will
ae glad to answer all inquiries from fans regard-
ng the club. Foreign inquiries may be sent to
:heir British representative at 67 Hodford
Road, Golders Green, N. W. 11, London, Eng-
and.

1 Bonnie Bergstrom, 6805 S. Artesian Ave.,
Chicago, 111., reports that the Barbara Stan-
wyck Buddies have received some beautiful
lew photographs of Miss Stanwyck. Many
)ut of town " Buddies" have visited president
Bonnie lately, she writes.

""THE Billie Dove club celebrated its sixth
birthday at a party in the home of president
!>enore Heidom, 5737 S. Artesian Ave.,
rhicago, on Nov. 4th. Many plans for future
ictivities of the club were discussed at the
neeting.

Lillian Conrad, busy president of the Ruth
Roland club, won the contest for naming the
:lub news bulletin of the Ginger Rogers club.
5he was rewarded with a gorgeous personally

autographed portrait of Miss Rogers. Those
interested in joining the Ginger Rogers fan
club should write to Marion L. Hesse, presi-
dent, 154 Elm Street, Elizabeth, N. J.

A report of the activities of the Ramon
Novarro Service League for the past year shows
the wonderful progress this group is making.
All inquiries regarding this progressive organ-
ization should be addressed to Ethel Musgrave,
general secretary, 6384 Elgin St., Vancouver,
B. C, Canada. Foreign inquiries may go to L.
Margiocchi, 3, Allington Road, Hendon
Central, London, England.

1 I 'HE Lanny Ross League, Catharine Mac-
■*■ adam, P. O. Box 164, Wilmington, Del.,
president, announces that the club will begin
a big membership drive around Christmas.
There will be special prizes to the winners.
Fans interested in Lanny Ross should write
Miss Macadam.

The news bulletin of the Gloria Stuart club is
filled with interesting items and member gossip
again this month. "The Gloria-ous News" is
its name, and it goes to all members of Miss
Stuart's club. Estelle Nowak, 3223 N. Central
Park Ave., Chicago, is president.

"CANS interested in the newly formed Pat

Paterson club are invited to write the club's
headquarters at 955 N. Central Ave., Chicago,
for information.

Neil Hamilton's host of fans will be glad to
read of his fan club organization, The Hamil-
tonians, 4254 Normal Ave., Los Angeles,
Calif. Those wanting more information are
invited to write John G. Whidding, president,
at the above address.

Phyllis Carlyle, president of the Franchot
Tone club, invites all interested fans to write to
her at Portland, Maine.

Irene G. Rourke, 7908 S. Ridgeland Ave., is
president of the Douglass Montgomery club.

The Movie Club Guild, of Chicago, held
another penny social sale, a big success, late in
November.

How to Gain

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The Shadow Stage

[ CONTINUED FROM PAGE 75

ENTER MADAME— Paramount

TN spite of a brilliantly vital performance by
Elissa Landi, and some rollicking comedy,
this is spotty entertainment. It's well worth
seeing, however, for Landi, as a capricious
prima donna, is at her best. Cary Grant, as
her bewildered spouse who escapes briefly to
the arms of a quieter lady love, is fascinating in
both his comedy and romantic moments.
Frank Albertson, Lynne Overman and Sharon
Lynne top the support.

FUGITIVE LADY— Columbia

CTAGE star Florence Rice makes a successful
^film debut in this picture. It's the story of a
woman who is sentenced to the penitentiary
after being double-crossed by a jewel thief
(Donald Cook). A melodramatic train wreck
results in a case of mistaken identity that puts
her in the role of the estranged wife of another
man (Neil Hamilton). Plenty of action, a fair
story, good direction. Florence Rice will go
far on the screen.

CHEATING CHEATERS— Universal

A CTION and suspense, aided and abetted
^by comedy and gags, guarantee this to
please if you like the mystery and crook type of
picture. Complications arise when two gangs
of crooks bent on the same mission, cross one
another. Fay Wray is convincing as a girl
crook, and Henry Armetta and Hugh O'Con-
nell provide the comedy, while the snapper
twist that made this a stage success adds zest
to the entertainment.

THE GAY BRIDE— M-G-M

/^OLD digger de luxe goes on a rampage!
^-'Carole Lombard, chorus girl out to get a
husband, becomes involved with a crowd of
racketeers who obligingly kill off each other in
order to please her. Nat Pendleton, Sam
Hardy and Leo Carrillo pay; while Chester
Morris, who behaved himself, wins the prize.
A good story loaded with plot complications
and blurry character drawings. Even ZaSu
Pitts seems more bewildered than usual.

WITHOUT CHILDREN— Liberty

'"THERE'S lots of heart appeal and some
grand family scenes in this picture, but the
plot is antiquated and the acting too often un-
convincing. Bruce Cabot and Marguerite
Churchill let a fascinating siren break up their
happy home. Then their kids grow up, go
flaming youth, and eventually bring about a
reunion. Dorothy Lee and William Janney as
the scorching youngsters, and Dickie Moore
and Cora Sue Collins as the tots, steal the show.

SECRETS OF HOLLYWOOD—
Scott-Merrick Prod.

A N HOUR of howls with the old movie
*■ plush-bound album. It's a weak story,
but priceless when Mae Busch, as the star,
shows a collection of old pictures with Eddie
Lowe, Wally Beery, Enid Bennett, Florence
Vidor, and other veterans, emoting in scenes
from the nickelodeon days. The modern part
is unimportant. But you won't want to miss
those museum flashbacks. The "secrets" is
just a come-on.

120

TRANSATLANTIC MERRY-GO-
ROUND— United Artists

TTS galaxy of stars is this picture's chief draw-
ing power. The story, beginning with a murder
on ship board, is none too intriguing. But
radio entertainers Jack Benny, Sid Silvers,
and the Boswell Sisters are good. Dramatic
load is carried by Nancy Carroll, Gene Ray-
mond and Sidney Blackmer, with Gene way
out in front. Mitzi Green helps the entertain-
ment. Picture has its moments, but not many.

THE RETURN OF CHANDU—
Principal

OPOOKY music, ghost drums, and thrills!
,\ Hindu secret society must have an
Egyptian princess (Maria Alba) as a sacrifice
to their god. And it's all Chandu (Bela Lugosi)
can do to foil them — even with genii, magic
charms and self-steering automobiles to help
him. It's good entertainment for the kids.
And if adults leave their credulity at home and
go to hiss the turbanned villain, they'll have
fun, too.

LOST IN THE STRATOSPHERE—
Monogram

A STORY with a good idea that went rather
weak. Eddie Nugent and William Cagney,
air service pals, differ for the first time over
June Collyer, Eddie's girl who William swipes.
Enemies now, the two boys are sent up to-
gether on a stratosphere flight. Fourteen miles
up the balloon goes haywire. Pauline Garon
and Lona Andre appear briefly. Edmund
Breese is a good commanding officer. This is
one for the kids.

LOYALTIES— Harold Auten Prod.

A N adaptation of John Galsworthy's play of
the same name, this is a story of a wealthy
Jew robbed by a British Army captain at a
house party. Class and racial prejudice enter
into subsequent justice for the Jew, over-played
by Basil Rathbone. An all British cast, the
accent is practically unintelligible for American
audiences. With clearer dialogue it might have
been more entertaining.

GIRL O' MY DREAMS— Monogram

T OTS of rah-rah and collegiate confusion
centering about a campus election and fra-
ternity pin engagements. In spite of the dev-
astating humor of Sterling Holloway and
breezy, refreshing student characterizations by
Mary Carlisle, Eddie Nugent, Arthur Lake and
Creighton Chaney, you'll find this an old
story. Better decide how much collegiate at-
mosphere you can stand before seeing this one.

LIGHTNING STRIKES TWICE—
RKO-Radio

TF YOU can be entertained by a mystery
built on a murder that didn't happen, inter-
mixed with mistaken identities, you'll be
amused. Ben Lyon and Skeets Gallagher are
funny as the befuddled young men-about-
town, and Pert Kelton is good as the fan
dancer. Laura Hope Crews, John Hale and
Thelma Todd also turn in able performances.
But the cast can't surmount the weak and
incoherent story.

I SELL ANYTHING—
First National

"V'OU'LL be talked to death in this gabby
monologue delivered by Pat O'Brien, an
auctioneer out to gyp the public. Spurred on
by a Park Avenue gold digger, Claire Dodd,
Pat moves into society and the shady business
of selling faked antiques. But when Miss Park
Avenue walks off with the money, Pat goes
back to Second Avenue and Ann Dvorak, sad-
der and gabbier. Fair comedy in spots, it's
mostly dull and heavy.

LIMEHOUSE BLUES— Paramount

CIXISTER business in this one, with lurking
^Chinese, thugs, dopes, and Scotland Yard
inspectors. George Raft tilts his eyebrows as a
half caste Oriental, and desires Jean Parker
who loves Kent Taylor. Somehow the chills
and thrills fall flat. It's a bit gruesome for the
kiddies, and old stuff for the grown ups. Anna
May Wong is fascinating in her Hollywood
return role.

ELINOR NORTON— Fox

'""PHIS attempt to photograph the strange
quirks of a diseased mind is hopeless from
the start. It is an unbelievably dull picture.
Taken from Mary Roberts Rinehart's story,
"The State Versus Elinor Norton," there is
nothing left of "The State" and very little
of the audience after the first reel. Claire
Trevor, Hugh Williams, Gilbert Roland, Nor-
man Foster and Henrietta Crosman can't lift
it from complete boredom.

AUTUMN CROCUS— Associated
Talking Pictures

"LJERE is a picture as quiet and leisurely as a .
walk in the country. To the soft accom- j
paniment of Tyrolian folk music unfolds the
story of the schoolmistress (Fay Compton)
who, touring the Alps, falls in love with the
young inn-keeper (Ivor Novello) before she
learns he is married. Adapted from the stage
success, this is beautifully photographed, but
rather slowly paced for the average movie-goer, i

NORAH O'NE ALE— Clifton-Hurst
Prod.

TRELAND'S Abbey Players, justly famous on
the stage, fail dismally in their first movie.
Handicapped by a seeming lack of direction
and with a trite, unconvincing story, they do
not bring to the screen any of the spontaneity
and charm which has endeared them to play-
goers. Shots of the Irish country-side and
village scenes featuring folk dances and Irish
music are the only bright spots in the film.

GREEN EYES— Chesterfield

JUST another murder mystery — the usual ,
stereotyped story, with killings, false clues
and suicides. An old man is murdered at a
masquerade party and suspicion is instantly ,
thrown upon his granddaughter and her young
sweetheart; it's the writer of detective stories, I
Charles Starrett, who outwits the cops and
solves the mystery. Claude Gillingwater, <
Shirley Grey, William Bakewell, John Wray
and Dorothy Revier are all adequate.

Photoplay Magazine for January, 1935

121

Copperfield in Quest of His Youth

CONTINUED FROM PAGE W

its own expense, a camera crew in every prin-

• cipal point throughout the whole of the United

States. Men who waited for a word to dash

' into a neighboring state, a nearby city or an

obscure hamlet and test a David.

A writer from the studio, who was planning a
trip to Europe, was detoured through Canada
by M-G-M to see what he could find in the way
of a Copperfield. He found nothing.

All this time, remember, would-be Davids

were pouring through the gates of the studio in

, Hollywood. Testing went merrily on. Well, no,

! not merrily, for by this time everyone was

pretty well convinced that no David existed, or

ever had existed, and they might as well give

up and jump in the ocean. And one or two

actually did, so it's hinted. August loomed.

j Letters by the ton poured into the studio.

jFrom every country in the world they came.

And letters, everyone of them, had to be

(answered or helpful mothers might accept

(silence for consent and bring on their offspring.

■And goodness knows, things were bad enough.

When enclosed photographs looked at all

promising, scouts were immediately sent to

investigate. Not one bet was overlooked. But

ialas, all these Davids proved to be false alarms

and August, sad as I am to say, was drawing to

a close.

I "Let's try California again and not leave a
single stone unturned," was suggested. Adver-
tisements appeared in every newspaper through-
out the state of California. Announcements
were made in every theater. Arrangements were
nade with a local broadcasting station which,
e very hour of the day beginning at twelve o'clock
midnight, sent out calls for a David.

" Do you have a David Copperfield in your
lome? " " Do you know of a David Copperfield? "
The plea rang out over the air again and again.
Startled groups of young folk paused in their
lancing to listen. Lonely visitors in hotel rooms
ooked up in amazement at the plea. The ill, in
lospital rooms, pondered over the quest.

"David." "David." "David." Up and down
he land, the cry rang out. A writer at the
tudio tells of going home that evening and
ieing met at the door by her father who was
lore than a little deaf. " Well, them kidnap-
ers have been at it again," he said excitedly.
They've been yelling for the boy on the radio
11 day. 'David,' they said his name was." And
') .tie writer practically swooned to the floor.
As many as three thousand boys were seen in

the north and south of the state in one day.
Talent scouts all over the state sent back to the
studio a total of sixty or seventy prospects. But
none qualified.

It looked absolutely hopeless and the studio
knew it. And they were ready to admit defeat.
David Selznick, the producer, was ready to give
up as he sat at his desk. Nervously, he whirled
about in his chair to speak. And then sat
motionless. Frozen. Unable to say a word.

For, in the doorway stood David.' The little
boy. The lad for whom they had searched so
long and faithfully for almost a year.

v You've come," the producer said.

" Yes," the lad said simply and that was all.
Without a test of any kind, Mr. Selznick knew
that here, indeed, was his David.

Little Freddie Bartholomew had traveled
seven thousand miles in answer to the plea of a
great studio in far off Hollywood. At the time
the director and producer had been in England
conducting their search, he had been unable to
get to them. But so sure was his aunt that
Freddie was the one and only David, she packed
up and, with Freddie in tow, boarded the ship
for America for the first time.

rPHE New York offices of the studio weren't
so sure about Freddie as David, so at the
aunt's expense, the two traveled over the vast
and strange land of these United States to
Hollywood. And to "David Copperfield."

A bit of a lad is Freddie, with the same
ethereal sweetness in his face that belonged to
the youthful Philippe DeLacy. The "David
Copperfield" crew, happy and working at last,
look after the lad as if he were the long lost
brother. As, indeed, he is. Freddie must have
his milk at a certain time. Freddie must have
his rest. Freddie must be watched every min-
ute, every second, lest he disappear before their
eyes and they're right back where they were all
those long, hectic months. And above all,
Freddie must be protected from American chil-
dren and their American twang. That precious
English accent must be guarded carefully.

The day Freddie announced to his director,
"Gee, ain't it a hot-diggedy day," practically
threw the studio into a breaking out all over.
After all, the search was too long and fraught
with too much bitterness to be spoiled now.
So, until after " David," little English Freddie,
is being just one person. And that is Master
Copperfield.

Could You Love, Honor and
Obey These Men?

COXTIXUED FROM PAGE 32

art no one. And if you tried to dominate him,
:)U might be disappointed in him and in your-
■lf. So if you're one of those women who are
itermined to have their own way, there's
.at problem to ponder. Tenderness and
' oughtfulness about little things, birthday
jesents, anniversary gifts, flowers, perfumes,

[ the things that make married life a continu-

ion of two lovers' dreams, would come from

anchot.

You could depend on that.

So here we have them. The most fascinating
men on the screen.

The men who have lived at some time in
every girl's heart. Here they are — sweethearts
by proxy.

Look them over, girls, make your choice,
and then answer to yourself this question:

"Could I love him, honor him and obey
him through sickness or health, through
poverty or wealth, through success or failure
until death do us part? "

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Casts of Current Photoplays

Complete for every picture reviewed in this issue

"ANNE OF GREEN GABLES"— RICO- Radio.
— Based on the book by L. M. Montgomery. Screen
play by Sara Mintz. Directed by George Nicholls, Jr.
The cast: Anne, Anne Shirley; Gilbert, Tom Brown;
Matthew, O. P. Heggie; Marilla, Helen Westley; Mrs.
Barry, Sara Haden; Mr. Phillips, Murray Kinnell;
Diana, Gertrude Messinger; Mrs. Bluett's daughter,
June Preston; Dr. Talum, Charley Grapewin; Mrs.
Bluett, Hilda Vaughn.

"AUTUMN CROCUS" — Associated Talking
Pictures. — From the story by C. L. Anthony. Di-
rected by Basil Dean. The cast: Andreas Sleiner, Ivor
Novello; Jonny Gray, Fay Compton; Miss Mayne,
Muriel Aked; Edith, Esme Church; Herr Feldmann,
Frederick Ranalow; Alaric, Jack Hawking; Audrey,
Diana Beaumont; Frau Feldmann, Mignon O'Do-
herty; Reverend Mayne, George Zucco; Frau Sleiner,
Gertrude Gould; Minna, Alice Fandor; Lenchen,
Pamela Blake.

"BROADWAY BILL"— Columbia. — From the
story by Mark Hellinger. Screen play by Robert
Riskin. Directed by Frank Capra. The cast: Dan
Brooks, Warner Baxter; Alice, Myrna Loy; J. L.
Higgins, Walter Connolly; Margaret, Helen Vinson;
Eddie Morgan, Douglas Dumbrille; Colonel Petligrew,
Raymond Walburn; Happy McGuire, Lynne Over-
man; Whiley, Clarence Muse; Edna, Margaret Ham-
ilton; Ted Williams, Frankie Darro; Collins, Charles
C. Wilson; Pop Jones, Harry Todd; Morgan's hench-
men. Ward Bond, Charles Levison; Joe, George
Cooper; Henry Early, George Meeker; Arthur Wins-
low, Jason Robards; Mrs. Early, Helen Flint; Mrs.
Winslow, Helene Millard; Jimmy Baker, Ed Tucker;
Presiding Judge, Edmund Breese; Whitehall's Jockey,
Bob Tansill; Mrs. Peterson, Clara Blandick; Mae, Inez
Courtney; Chase, Claude Gillingwater; James White-
hall, Paul Harvey; Interne, James Blakely; Orchestra
Leader, Alan Hale.

"CAPTAIN HATES THE SEA, THE"— Co-
lumbia.— From the story by Wallace Smith. Screen
play by Wallace Smith. Directed by Lewis Milestone.
The cast: Schulle, Victor McLaglen; Mrs. Jeddock,
Wynne Gibson; Mrs. Magruder, Alison Skipworth;
Steve Bramley, John Gilbert; Janet Grayson, Helen
Vinson; Danny Checkett, Fred Keating; Captain Hel-
quist, Walter Connolly; Gerta Kldrgi, Tala Birell;
Orchestra, Jerry Howard, Moe Howard and Larry
Fine; Layton, Leon Errol; Joe Silvers, Walter Catlett;
Judge Griswold, Claude Gillingwater; Mrs. Griswold,
Emily Fitzroy; Miss Hackson, Geneva Mitchell; Mr.
Jeddock, John Wray; Josephus Bushmills, Donald
Meek; Juan Gilboa, Luis Alberni; Salazaro, Akim
Tamiroff; Major Waringforlh, Arthur Treacher; Flo,
Inez Courtney.

"CHEATING CHEATERS" — Universal. —
From the play by Max Marcin. Screen play by
Gladys Unger and Allen Rivkin. Directed by
Richard Thorpe. The cast: Nan Brock/on, Fay
Wray; Tom Palmer, Cesar Romero; Mrs. Brockton,
Minna Gombell ; Steve, Hugh O'Connell; Tony, Henry
Armetta; Dr. Brockton, Francis L. Sullivan; Mr.
Palmer, Wallis Clark; Ira Lazarre, John T. Murray;
Holmes, Morgan Wallace; Phil, George Barraud;
Finelli, Harold Huber; Police Capl., Reginald Barlow.

"COLLEGE RHYTHM "—Paramount.— From
the story by George Marion, Jr. Screen play by
Walter DeLeon, John McDermott and Francis Mar-
tin. Directed by Norman Taurog. The cast: Joe,
Joe Penner; Larry Stacey, Lanny Ross; Finnegan,
Jack Oakie; June Cort, Helen Mack; Mimi, Lyda
Roberti; Gloria Van Dayham, Mary Brian; J. P.
Stacey, George Barbier; Peabody, Franklin Pangborn;
Peggy Small, Mary Wallace; Coach, Dean Jagger;
Spud Miller, Joseph Sauers; Jimmy Pool, Julian Mad-
ison; Whimple, Robert McWade; Whimple's Secre-
tary, Harold Minjir; Sonny Whimple, Bradley Met-
calfe; Timekeeper, Lee Phelps; Stacey Quarterback,
Eric Alden; 1st Substitute, Alfred Delcambre; Colton
End, Howard Wilson.

"ELINOR NORTON "—Fox.— From the novel
"The State Versus Elinor Norton" by Mary Roberts
Rinehart. Screen play by Rose Franken and Philip
Klein. Directed by Hamilton MacFadden. The cast:
Elinor Norton, Claire Trevor; Rene Alba, Gilbert Ro-
land; Christine Somers, Henrietta Crosman; Tony
Norton, Hugh Williams; Bill Carroll, Norman Foster.

"ENTER MADAME" — Paramount. — From the
story by Gilda Varesi Archibald and Dorothea Donn-
Byrne. Screen play by Charles Brackett and Gladys
Lehman. Directed by Elliott Nugent. The cast: Lisa
Delia Robbia, Elissa Landi; Gerald Fitzgerald, Cary
Grant; Mr. Farnum, Lynne Overman; Flora Preston,
Sharon Lynne; Bice, Michelette Burani; Archimede,
Paul Porcasi; The Doctor, Adrian Rosley; Aline
Chalmers, Cecilia Parker; John Fitzgerald, Frank
Albertson; Tamamoto, Wilfred Hari; Carlson, Torben
Meyer; Bjorgenson, Harold Bertmist; Operator, Diana
Lewis; Scarpia, (on stage), Richard Bonnelli.

"EVELYN PRENTICE"— M-G-M — From the
novel by W. E. Woodward. Screen play by Howard

122

Emmett Rogers and Lenore Coffee. Directed by
William K. Howard. The cast: John Prentice, William
Powell; Evelyn Prentice, Myrna Loy; Amy Drexel,
Una Merkel; Mrs. Harrison, Rosalind Russell; Law-
rence Kennard, Harvey Stephens; Judith Wilson, Isa-
bel Jewell; Delaney, Edward Brophy; Chester Wylie,
Henry Wadsworth; Dorothy Prentice, Cora Sue Col-
lins; Mrs. Blake, Jessie Ralph.

"FIREBIRD, THE"— Warners.— From the play
by Lajos Zilahy. Screen play by Charles Kenyon.
Directed by William Dieterle. The cast: Carola
Pointer, Verree Teasdale; Herman Brandt, Ricardo
Cortez; John Pointer, Lionel Atwill; Marietta, Anita
Louise; Police Inspector, C. Aubrey Smith; Jolan,
Dorothy Tree; Mile. Mousquet, Helen Trenholme;
Emile, Hobart Cavanaugh; Halasz, Robert Barrat;
Asst. State Manager, Hal K. Dawson; Stage Manager,
Russell Hicks; Max, Spencer Charters; Professor
Peterson, Etienne Girardot; Thelma, Florence Fair;
Alice Yon Attern, Nan Gray.

"FLIRTATION WALK" — First National. —
From the story by Delmar Daves and Lou Edelman.
Directed by Frank Borzage. The cast: Dick "Canary"
Dorcy, Dick Powell; Kit Fills, Ruby Keeler; Sgt.
Scrapper, Pat O'Brien; Oskie Berry, Ross Alexander;
General Fitls, Henry O'Neill; 2nd Lieut. Biddle, John
Eldridge; Sleepy, Guinn Williams; Eight Ball, Glen
Boles; Spike, John Arledge.

"FUGITIVE LADY"— Columbia.— From the
story by Herbert Asbury and Fred Niblo, Jr. Directed
by Albert Rogell. The cast: Donald Brooks, Neil
Hamilton; Ann Duncan, Florence Rice; Jack Howard,
Donald Cook; Aunt Margaret, Clara Blandick; Mrs.
Brooks, Nella Walker; Steve Rogers, William Demar-
est; Rudy Davis, Wade Boteler; Joe Nelson, Ernest
Wood; Sylvia Brooks, Rita LeRoy; Mrs. Clifford, Rita
Gould.

"GAY BRIDE, THE"— M-G-M.— From the story
by Charles Francis Coe. Screen play by Bell and Sam
Spewack. Directed by Jack Conway. The cast:
Carole Lombard, Una Merkel, Chester Morris, Nat
Pendleton, Leo Carrillo, Arthur Jarrett, ZaSu Pitts,
Louis Natheau, Walter Walker, Ray Mayer, Garry
Owen and Norman Ainsley.

"GENTLEMEN ARE BORN" — First Na-
tional.— From the story by Robert Lee Johnson.

With plans for a Christmas wedding,

Maureen O'Sullivan should be Mrs.

John Farrow when you read this. But

we're not betting

Screen play by Eugent Solow and Robert Lee John-
son. Directed by Alfred E. Green. The cast: Bob
Bailey, Franchot Tone; Tom Martin, Ross Alexander;
Joan Harper, Margaret Lindsay; Susan Merrill, Ann
Dvorak; Trudy, Jean Muir; Fred Harper, Jr., Robert
Light; Fred Harper, Sr., Henry O'Neill; Smudge, Nick
Foran; Stephen Hornblow, Charles Starrett; Mrs.
Harper, Marjorie Gateson; Al, Bradley Paige.

"GREAT EXPECTATIONS" — Universal. —
Based on the novel by Charles Dickens. Screen play
by Gladys Unger. Directed by Stuart Walker. The
cast: Magwilch, Henry Hull; Pip, Phillips Holmes;
Estella, Jane Wyatt; Miss Havisham, Florence Reed;
Joe Gargery, Alan Hale; Mrs. Joe, Rafaela Ottiano;
Herbert Pocket, Walter Armitage; Young Herbert,
Jackie Searl; Sarah Pocket, Eily Malyon; Molly, Vir-
ginia Hammond; Young Estella, Ann Howard; Young
Pip, George Breakston; Uncle Pumblechook, For-
rester Harvey; Orlick, Harry Cording; Compeyson,
Douglas Wood; Drummle, Philip Dakin.

"GIRLO' MY DREAMS"— Monogram.— From
the story by George Waggner. Directed by Ray Mc-
Cary. The cast: Gwen, Mary Carlisle; Larry, Eddie
Nugent; Don, Creighton Chaney; Bobby, Arthur
Lake; Spec, Sterling Holloway; Mary, Gigi Parrish;
Kittens, Jeanie Roberts; Smiley, Tommy Dugan;
Coach, Lee Shumway; Nip, Beverly Crane; Tuck,
Bettymae Crane.

"GREEN EYES" — Chesterfield. — From the
novel "The Murder of Stephen Kester" by H. Ash-
brook. Directed by Richard Thorpe. The cast: Jean
Kester, Shirley Grey; Bill Tracy, Charles Starrett;
Stephen Kester, Claude Gillingwater; Inspector Crof-
ton, John Wray; Cliff, William Bakewell; Mrs. Prit-
chard, Dorothy Revier; Mr. Pritchard, Alden Chase.

"HELL IN THE HEAVENS"— Fox.— Based on
the play "The Ace" by Hermann Rossmann. Screen
play by Bryon Morgan and Ted Parsons. Directed
by John Blystone. The cast: Lieut. Sieve Warner,
Warner Baxter; Aimee, Conchita Montenegro; 2nd
Lieut. Hartley, Russell Hardie; "Granny" Biggs,
Herbert Mundin; Sergeant "Ham" Davis, Andy De-
vine; Corporal Teddy May, William Stelling; Lieut.
"Pop" Roget, Ralph Morgan; Ace McGurk, Vince
Barnett; Captain Andre DeLaage, William Stack;
Sergeant Chevalier, J. Carrol Naish; Clarence Perkins,
Johnny Arthur; Baron Kurt Yon Hagen, Arno Frey;
Lieut. Schroeder, Rudolf Amendt; Sergeant Cortez,
Vincent Carato.

"I SELL ANYTHING" — First National.—
From the story by Albert Cohen and Robert T.
Shannon. Screen play by Brown Holmes and Sidney
Sutherland. Directed by Robert Florey. The cast:
"Spot Cash," Pat O'Brien; Barbara, Ann Dvorak;
Millicenl, Claire Dodd; Monk, Roscoe Karns; Three
Stooges, Hobart Cavanaugh, Harry Tyler, Gus Shy;
Pertwee, Leonard Carey; Smiley, Russell Hopton;
Barouche, Ferdinand Gottschalk; McPherson, Robert
Barrat; Peter Vangruen, Clay Clement.

" KENTUCKY KERNELS " — RKO- Radio. —
From the story by Bert Kalmar and Harry Ruby.
Directed by George Stevens. The cast: Willie, Bert
Wheeler; Elmer, Robert Woolsey; Gloria, Mary Car-
lisle; Spanky, Spanky McFarland; Colonel Wakefield,
Noah Beery; Hannah Milford, Lucille La Verne; Buck-
shot, Sleep 'n' Eat; John Wakefield, William Pawley;
Colonel Ezra Milford, Louis Mason; Jess Wakefield,
Frank McGlynn, Jr.; Hank Wakefield, Richard Alex-
ander; Jerry Bronson, Paul Page.

"KID MILLIONS" — Samuel Goldwyn-United
Artists. — Story and dialogue by Arthur Sheekman,
Nat Perrin and Nunnally Johnson. Directed by Roy
Del Ruth. The cast: Eddie, Eddie Cantor; Jane Lar-
rabee, Ann Sothern; Dot, Ethel Merman; Jerry Lane,
George Murphy; Ben AH, Jesse Block; Fanya, Eve
Sully; Colonel Larrabee, Berton Churchill; Louie the
Lug, Warren Hymer; Sheik Mulhulla, Paul Harvey;
Khoot, Otto Hoffman; Toots, Doris Davenport; Her-
man, Ed Kennedy; Oscar, Stanley Fields; Adolph,
John Kelly; Pop, Jack Kennedy; Stymie, Stymie
Beard; Tommy, Tommy Bond; Leonard, Leonard
Kibrick; Slade, Guy Usher.

"LIGHTNING STRIKES TWICE"— RKO-Ra-
dio. — From the story by Ben Holmes and Marion
Dix. Directed by Ben Holmes. The cast: Stephen
Brewster, Ben Lyon ; Wally Richards, Skeets Gallagher;
Marty Hicks, Chick Chandler; Fay, Pert Kelton;
Delia, Margaret Armstrong; Judy Nelson, Thelma
Todd; Gus, Walter Catlett; Captain Nelson, U. S. N.,
John Hale; Aunt Jane, Laura Hope Crews; Phillips,
John Davidson; Dugan, Fred Kelsey; Police Lieut.
Foster, Ed Deering; Casey, Roger Grey; A Policeman,
Walter Long.

"LIMEHOUSE BLUES"— Paramount.— Fmm
the story by Arthur Phillips. Screen play by Arthur
Phillips and Cyril Hume. Directed by Alexander
Hall. The cast: Harry Young, George Raft; Toni,
Jean Parker; Tu Tuan, Anna May Wong; Eric Ben-
ton, Kent Taylor; Pug Talbot, Montagu Love; Herb,

Photoplay Magazine for January, 1935

Billy Bevan; Rhama, Louis Vincenot; Ching Lee.
E. Alyn Warren; Inspector Sheridan, Robert Lorraine;
McDonald, Forrester Harvey; Smokey, John Rogers;
Ass't Commissioner Kenyan, Wyndliam Standing;
Mfred, Robert Adair; Policeman, Keith Kenneth;
Davis, Colin Kenny; Slummer, Eric Blore; Constable,
Desmond Roberts; Maggie, Tempe Pigott; Man.
L'olin Tapley; Wife, Rita Carlyle; Woman, Eily
Malyon.

"LITTLE FRIEND"— Gaumont-British. —

prom the story by Margaret Kennedy and Christo-

iher Isherwood. Adapted by Berthold Viertel. Di-

octed by Berthold Viertel. The cast: John Hughes,

Matlieson Lang; Helen Hughes, Lydia Sherwood;

,v Hughes, Nova Pilbeam; Hilliard, Arthur

Margetson; Miss Drew, Jean Cadell; Leonard Parry,

jimmy Hanley; Thomson, Gibb McLaughlin; Maud,

liana Cotton; Mason, Cecil Parker; French Gov-

. Marcell Rogez; Mrs. Parry, Clare Greet;

Jeffries, Jack Raine; Grove, Finlay Currie; Colonel

[ntbcrley, Allan Aynesworth; Hal, Robert Kay;

. Joan Davis; Judge, Lewis Casson; Dot, Ve-

onica V'anderlyn; Airs. Amberley, Margare Halstan;

title Ned, Robert Nainby; Shepherd, Atholl Fleming;

doctor, Basil Goth; Solicitor, Charles Childerstone;

iutler, Gerald Kent; Boy at party, Hughie Green; Cab

iriver, Malcolm Rignold; Policeman, Horace Hunter.

"LOST IN THE STRATOSPHERE"— Moxo-
;RAM. — From the story by Tristram Tupper. Screen
Jay by Albert DeMond. Directed by Melville Brown,
'lie cast: Lieut. Cooper, William Cagney; Lieut. Wood,
"dward Nugent; Evelyn, June Collyer; Sophie, Lona
indre; Col. Brooks, Edmund Breese; Worthing/on,
rank McGlynn, Sr.; Hilda, Pauline Garon; O' Toole,
latt McHugh; Enfield, Russ Clark; Sgl. Byer, Jack
lack; Grelchen, June Gittleson; Ida Johnson, Hattie
/lcDaniels.

"LOYALTIES"— Harold Autem Prod.— From
le play by John Galsworthy. Directed by Basil
>>ean. The cast: Ferdinand de Levis, Basil Rathbone;
targaret Orme, Heather Thatcher; Captain Dancy,
liles Mander; Mabel Dancy, Joan Wyndliam; Major
olford, Philip Strange; General Canynge, Alan Na-
ier; Charles Winsor, Algernon West; Lady Adela,
ecily Byrne; Lord St. Erlh, Athole Stewart; Sir
rederic Blair, Patric Curwen; Lord Chief Justice,
larcus Barron; Gilman, Ben Field.

"MAN OF ARAN"— Gaumontt-British.— Editor
id scenarist, John Goldman. Directed by Robert
laherty. The cast: A Man of Aran, "Tiger" King;
its Wife, Maggie Dirrane; Their Son, Michael Dil-
ne; Shark Hunting Crew, Pau Mullin. Patch Ruadh,
atcheen Faherty, Tommy O'Rourke; Canoe Men,
Big Patcheen" Conneely; Stephen Dirrane and Pat
(cDonough.

"MUSIC IN THE AIR"— Fox.— From the op-
etta by Oscar Hammerstein, II, and Jerome Kern.

reen play by Robert Leibmann, Howard I. Young
;id Billie Wilder. Directed by Jerome Kern. The
.st: Frieda, Gloria Swanson; Bruno, John Boles;
arl, Douglass Montgomery; Sieglinde, June Lang;
r. Lessing, AI Shean; Weber, Reginald Owen; Upp-
ann, Joseph Cawthorn; Cornelius. Hobart Bosworth;
'artha. Sara Haden; Anna, Marjorie Main; Burgo-
asler, Roger Imhof; Kirschner, Jed Prouty; Zipfel-
tber, Christian Rub, Nick, Fuzzy Knight.

"NORAH O'NEALE" — Clifton-Hurst Prod. —
iapted from the novel "Night Nurse" by J. John-

i bn Abraham. Directed by Brian Desmond Hurst.

I he cast: Fitz, Lester Matthews; Norah, Nancy

Burne; Otway, Molly Lamont; Pip, Patrick Knowles;
Hackey, Torren Thatclier.

"PAINTED VEIL, THE"— M-G-M.— From the
story by W. Somerset Maugham. Screen play by
John Meehan, Salka Viertel and Edith Fitzgerald.
Directed by Richard Boleslawski. The cast: Kalrin,
Greta Garbo; Walter Fane, Herbert Marshall; Jack
Townsend, George Brent; General Yu, Warner Oland;
Herr Koerber, Jean Hersholt; Frau Koerber, Bodil
Rosing; Mrs. Toivnsend, Katherine Alexander; Olga,
Cecilia Parker; Amah, Soo Yong; Waddington, For-
rester Harvey.

"RETURN OF CHANDU, THE"— Principal.
— From the story by Harry Earnshaw, Vera Oldham
and R. R. Morgan. Adapted by Barry Barringer.
Directed by Ray Taylor. The cast: Chandu, Bela
Lugosi; Princess Nadja, Maria Alba; Mrs. Dorothy
Regent, Clara Kimball Young; Bob Regent, Dean Ben-
ton; Hetty Regent, Phyllis Ludwig; Vindkyan, Lucien
Prival; Bara, Cyril Armbrister; Voice, Murdock Mc-
Quarrie; Captain Wilson, Wilfred Lucas; Tyba, Jo-
seph Swickard.

"ST. LOUIS KID. THE"— Warners.— From
the story by Frederick Hazlitt Brennan. Screen play
by Warren Duff and Seton I. Miller. Directed by
Ray Enright. The cast: Eddie Kennedy, James Cag-
ney; A nn Reid, Patricia Ellis; Buck, Allen Jenkins;
Farmer Benson, Robert Barrat; Judge Jones, Arthur
Aylesworth; Muzzledopp, Spencer Charters; Farmer
Brmen, Addison Richards; Louie, Harry Woods; Joe
Hunter, Wm. Davidson; Grade, Dorothy Dare; Other
Girl, Gertrude Short; Richardson, Hobart Cavanaugh;
Harris, Charles Wilson; Pete, Eddie Schubert.

"SECRETS OF HOLLYWOOD"— Scott-Mer-
pick Prod. — From the story by Betty Burbridge.
Directed by George M. Merrick. The cast: Mae
Busch, June Walters, Wally Wales, George Cowl,
Norbert Myles, David Callis, Ernie Adams and Tom
Francis.

"TRANSATLANTIC MERRY-GO-ROUND"—

United Artists. — From the story by Leon Gordon.
Directed by Benjamin Stoloff. The cast: Jimmy
Brett, Gene Raymond; Sally Marsh, Nancy Carroll;
Chad Denby, Jack Benny; Dan Campbell, Sydney
Howard; Mitzi, Mitzi Green; Shortie, Sid Silvers; Lee
Lother, Sidney Blackmer; Herbert Rosson, Ralph Mor-
gan; Anya Rosson, Shirley Grey; Jack Summers, Sam
Hardy; Joe Saunders, William Boyd; Inspector Mc-
Kinney, Robert Elliott; Frank, Frank Parker; Ned
Marsh, Carlyle Moore; Jean, Jean Sargent.

"WHITE PARADE, THE"— Fox.— From the
novel by Rian James. Adapted by Sonya Levien and
Ernest Pascal. Directed by Irving Cummings. The
cast: June Arden, Loretta Young; Ronald Hall, III,
John Boles; Zila Scofield, Dorothy Wilson; Glenda
Farley, Muriel Kirkland; Gertrude Mack, Astrid All-
wyn; Doctor Thome, Frank Conroy; Sailor, Jane Dar-
well; Doctor Barnes, Frank Melton; Doctor Moore,
Walter Johnson; Miss Harrington, Sara Haden; Una
Mellon, Joyce Compton; Pudgy Slebbins, June
Gittelson.

"WITHOUT CHILDREN"— Liberty.— Sug:
gested by Mrs. Wilson Woodrow's "Eyes of Youth."
Screen play by Gertrude Orr. Directed by William
Nigh. The cast: David, Bruce Cabot; Sue, Mar-
guerite Churchill; Shirley, Evelyn Brent; Phil, Regi-
nald Denny; Baby Carol, Cora Sue Collins; Sonny, as
child, Dickie Moore; Carol, Dorothy Lee; Sonny,
William Janney; Mr. Carr, George Cleveland; Frieda,
Lillian Harmer.

In 1915 Henry B. Walthall and Mae Marsh played together in "The Birth

of a Nation." They did not meet again until recently when assigned man

and wife roles in "Bachelor of Arts" at Fox

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CALIFORNIA

The May Co., Los Angeles

The Emporium, San Francisco

CONNECTICUT

Howland Dry Goods Co., Bridgeport
Scott Furriers, Inc., Hartford
Style Millinery Shop, New Haven
Sugenheimer Bros., Waterbury

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Sam's Style Shop, Pensacola
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Kiralfy & Company, Columbus
R. L. Stephens, Dublin
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Hollywood Shops, Benton

A. Livingston & Sons, Bloomington

W. A. Carpenter Co., Champaign

Mandel Brothers, Chicago

Banks & Co., Moline

The D. W. Klein Co., Peoria

Newman's, Waukegan

INDIANA

Wolf & Dessauer Co., Fort Wayne

Blackstone Shop, Gary

Fashion Shop, Lafayette

The Schmitt-Kloepfer Co., Logansport

IOWA

Abraham Brothers, Inc., Davenport

The Pelletier Co., Sioux City

KANSAS

Bon Marche, Emporia

Lewins Fashion Shop, Wichita

KENTUCKY

The John R. Coppin Co., Covington

Kaufman Straus Company, Louisville

LOUISIANA

The Dalton Co., Baton Rouge

The Parisian, Crowley

Belle Scherck Davidson, Monroe

PHOTOPLAY MAGAZINE'S
RETAIL STORE DIRECTORY

Whenever you go shopping consult this list of reliable stores,
offering faithful copies of HOLLYWOOD CINEMA FASH-
IONS and NATIONALLY KNOWN MERCHANDISE, such
as advertised in this issue of Photoplay. If this list does
not include a store in your home city, write the nearest store
for complete HOLLYWOOD CINEMA FASHION information.
And when you shop, please mention Photoplay Magazine.

La Parisienne, Inc., Lafayette
Lord's, New Orleans

MAINE

Chernowsky's, Augusta
Unobskey's New York Store, Calais
B. Peck Co., Lewistor

MARYLAND

Lazarus, Cumberland
Fashionland, Hagerstown

MASSACHUSETTS
Alexander's Fashion Shop, Brockton
Forbes & Wallace, Inc., Springfield
Gross Strauss Co., Wellesley
Gross Strauss Co., Worcester

MICHIGAN

The J. L. Hudson Co., Detroit

Kobacker Furniture Company, Flint

Village Women's Shop, Grosse Pointe

Fred Mahoney's, Kalamazoo

The Winkelman Co., Port Huron

MINNESOTA

M. C. Albenberg Co., Duluth

The Dayton Co., Minneapolis

MISSISSIPPI

Field's Women's Wear, Jackson

MISSOURI

W. E. Blattner & Son, Fulton

Kline's, Kansas City

The Paris, St. Joseph

Stix, Baer & Fuller Co., St. Louis

MONTANA

Stiles Style Shop, Great Falls

The N. Y. Dry Goods Co., Helena'

Epstein & Katz, Miles City

NEW JERSEY
M. E. Blatt Co., Atlantic City
L. Bamberger & Co., Newark
Claire Shop, Plainfield
Lillian Charm, Trenton

NEW YORK

Kalet's, Auburn

Hollywood Fashions, Binghampton

E. Jacobson, Cooperstown

W. Scott Argersinger & Sons, Gloversville

Parisian, Inc., Ithaca

The Abrahamson-Bigelow Company,

Jamestown
Idamae Shoppe, Johnstown
John Schoonmaker & Son, Inc., Newburg
R. H. Macy & Co., Inc., New York City
M. J. McDonald & Co., Oswego
McCurdy and Company, Inc., Rochester
The Carl Co., Schenectady
Flah & Co., Inc., Syracuse
Doyle-Knower Company, Utica
Mabel Bentley Shoppe, Watertown

NORTH CAROLINA

Bon Marche, Inc., Asheville
Lucielle Shops, Inc., Charlotte
The Fashion, Durham
Hurdle's, Elizabeth City, N. C.
Ladies' Sport Shoppe, Gastonia
Neil Joseph, Goldsboro
E. L. Brownhill, Inc., Greensboro
Purcells, Kannapolis
The Ladies Shop, Kinston
The Corner Shop, Mount Airy
Purcelle Modes, Salisbury
Dressmaker Shop, Wilmington
Lucielle's Dress Shop, Wilson
W. Robin Co., Winston-Salem

NORTH DAKOTA

G. M. Black, Fargo
Heller's, Grand Forks

OHIO

Spring-Holzworth Co., Alliance

The W. M. Norvell Co., Chillieothe

Irwin's & Kline's, Cincinnati

The Higbee Co., Cleveland

F. & R. Lazarus Company, Columbus

Elder & Johnston Co., Dayton

Simon's, Findlay

The Leader Store, Lima

The King Dry Goods Co., Newark

The Atlas Fashion Co., Portsmouth

La Salle & Koch Co., Toledo

OKLAHOMA
Froug Co., Inc., Tulsa

OREGON

Akey's Inc., Pendleton
Meier & Frank Co., Portland

PENNSYLVANIA

Hess Bros., Inc., Allentown
H. B. Siegal & Sons, Bethlehem

Feldman's, Bloomsberg

Fashionland, Chambersburg

G. C. Davidson, Connellsville

Bush & Bull, Easton

Keefe & Johnson, Erie

La Rose Shop, Greensburg

The Leader Store, Hanover

Bowman & Co., Harrisburg

Kline's, Johnstown

Gimbel Bros., Philadelphia

Joseph Home Co., Pittsburgh

A. G. Rosenthal & Co., Punxsutawney

Croll & Keck, Reading

Goldberg's, Shenendoah

Hal Lewis, Washington

Hollywood Apparel Shop, Wilkes-Barre

Bells, York

RHODE ISLAND

Scott Furriers, Providence

SOUTH CAROLINA

J. W. Haltiwanger, Columbia

The Aug. W. Smith Co., Spartansburg

SOUTH DAKOTA
Olwin-Angell Co., Aberdeen
New York Store, Deadwood
The Style Shop, Mitchell
Schaller's, Watertown
The Style Shop, Winner

TENNESSEE

Anderson Dulin Varnell, Inc., Knoxville
J. Goldsmith & Sons, Memphis
Loveman, Berger & Teitlebaum, Inc.,
Nashville

TEXAS

Goodfriend Specialty Shop, Austin

Knobler's Style Shop, Brownwood

Herzstein's, Dalhart

Robt. L. Cohen, Galveston

Sakowitz Brothers, Houston

VERMONT

W. G. Reynolds Co., Inc., Burlington

Economy Store, Inc., Rutland

VIRGINIA

Claire's Fashion Shop, Galax

Jonas Shoppes, Inc., Richmond

WASHINGTON

The Palace Store, Spokane

WEST VIRGINIA

The Women's Shop, Beckley

The Vogue, Bluefield

Jolliffe's, Grafton

F. S. Emmert & Son, Martinsburg

The Hub, Inc., Wheeling

WISCONSIN

E. L. Chester Co., Belolt

C. & S. Newman's, Green Bay

Wm. Doerflinger Co., La Crosse

Ed. Schuster & Company, Milwaukee

BRITISH WEST INDIES
Bronia & Co. Kingston

12k

F. MALL PRINTING CO.

0 *

ITS

:ode

i TV

5 .

Mary
ckfords

Search for Happiness

MYRNA LOY

&bgr

ERSPIRE od&SUL fi .yet

Seldom Cafci? Co/d

UP from the mine pits, dripping with per-
spiration after a day of the hardest kind
of labor, the men of Spitzbergen travel miles
over icy glaciers, arriving home with their
shirts frozen to their backs. Yet they seldom
catch cold. Only when the supply ship
arrives in the spring does this malady attack
them. Then hundreds are stricken.

A review of such cold epidemics led scien-
tific men eventually to the belief that colds
were caused by germs, not by exposure, wet
feet, or drafts on the neck, although these
may be contributing causes. But only re-
cently have they come close to the truth as
to the source of this common affliction. They
now declare it to be a virus.

Of all the germs known to Science, none
is more mysterious, more baffling, and elusive.
No one has ever seen the nltrable virus. No
filter yet devised has been able to trap it. It
can neither be weighed nor measured. Yet
it exists and causes damage estimated at
$450,000,000 annually. Only by such destruc-
tive results can its presence be established.

Our leading scientists, using this virus
withdrawn from the nose of a cold sufferer
and made into a serum, have been able to

produce the sufferer's cold in many other
men. Apes, too, have responded in precisely
the same way.

Under every-day conditions, the virus
enters the mouth, nose, and throat. Unless
overcome by natural or medicinal forces,
it is likely to cause a cold. The "secondary
invaders" such as the pneumococcus, strep-
tococcus, and influenza germs which so
often accompany the virus, frequently com-
plicate and aggravate the original cold.

Fight germs with Listerine

Clearly, the places to fight both invisible
virus and visible germs are the mouth and
throat, warm fertile breeding grounds that
welcome all bacteria. The cleaner and more
sanitary you keep them,
the less chance germs and
infection have of develop-
ing, leading authorities de-
clare.

Many go so far as to say
that the daily use of an an-
tiseptic mouth wash, pro-
vided it is safe, will prevent
much of the sickness so

METROPOLITAN

GRAND OPERA

direct from its N. Y stage

Broadcast by

LISTERINE

announced by

Geraldine Farrar

Every Saturday, all NBC stations

common in the mouth, nose, and throat,
and urge the instruction of children from
their earliest years in the disinfection of
these cavities.

For this purpose, Listerine has been con-
sidered ideal for more than 50 years, by the
medical profession and the laity. Non-
poisonous and possessing adequate power to
kill germs, Listerine is so safe that it will not
harm the most delicate tissue. At the same
time its taste is delightful.

Numerous tests conducted by our staff of
bacteriologists, chemists, and doctors, and
checked by independent laboratory techni-
cians, reveal Listerine's power against the
common cold. Twice-a-day users of Lister-
ine, it was shown, caught fewer colds and
less severe colds than those
who did not use it. Enthusi-
astic users have testified to
similar results in unsolicited
letters to this company.
Why not make a habit of
gargling with Listerine
every morning and every
night? Lambert Pharma-
col Co., St. Louis, Mo.

For Colds and SoreThroat. .LISTERINE. .The Safe Antiseptic

Photoplay Magazine fo»" February, 1935

|\M4Cx"

LOIS JANUARY, beautiful Universal
Pictures player, takes no chances with
her slender figure. She well knows
how important loveliness is to her
career. In Hollywood, where beauty
is their business, most famous stars
eat RY-KRISP with every meal.They've
learned that these crisp, whole rye
wafers are filling but not jattening.T ry
Ry-Krisp! See how delicious it is
with any food . . . how popular it is

unc

with your guests when you entertain.

Q j Mme. SYLVIA
ft* of Hollywood

World famous authority on the
feminine figure — and Hollywood
masseuse. Intimate stories about
Hollywood — valuable beauty advice.

Every Wednesday night,NBCNetwork,
10:15 Eastern Time — 9:15 Central,
8:15 Mountain, 7:15 Pacific Coast.

Photoplay Magazine for February, 1935

otm

and now the motion picture

that wins

SCREEN FAME!

Pronounced

YAH"

Two years ago it was the dream of its pro-
ducers. Metro-Goldwyn-Mayer! The theme
\\a> m> daring, so exciting that nothing since
"Trader Horn" could equal its brilliant nov-
elty. Now it is a stirring reality on the screen.
Out of the High Sierras, out of the wilderness
that is America's last frontier . . . roars this
amazing drama of the animal revolt against
man. A Girl Goddess of Nature! A ferocious
mountain lion and a deer with human in-
stincts! Leaders of the wild forest hordes! A
production of startling dramatic thrills that
defies description on the printed page . . . that
becomes on the screen YOUR GREATEST EX-
PERIENCE IN A MOTION PICTURE THEATRE!

EOUOIA

A GIRL GODDESS OF NATURE LEADS
THE ANIMAL REVOLT AGAINST MAN

with

JEAN PARKER

Produced by JOHN W. CONSIDINE, JR.
Directed by CHESTER M. FRANKLIN

Based on the novel f'MaIibu** by Vance Joseph Hoyt

The World's Leading Motion Picture Publication

KATHRYN DOUGHERTY, Publisher

RAY LONG, Editor

tVilliam T. Walsh, Managing Editor

Ivan St. Johns, Western Editor

k'ol XLVII No 3

Winners of Photoplay
Magazine Gold Medal for
the best picture of the year

"HUMORESQUE"

1921

"TOL'ABLE DAVID'

1922

"ROBIN HOOD"

"THE COVERED WAGON"

1924

"ABRAHAM LINCOLN"

192S

"THE BIG PARADE'

1926

"BEAU GESTE"

1927

"7th HEAVEN"

1928

"FOUR SONS"

1929

"DISRAELI"

1930

"ALL QUIET ON THE
WESTERN FRONT"

1931

"CIMARRON"
"SMILIN' THROUGH"

1933

"LITTLE WOMEN"

February, 1935

High-Lights of This Issue

Close-Ups and Long-Shots

Hollywood, My Hollywood .

Who Is Your Husband's Favorite Actress? .

The School That Never Has a Truant

And So the Great Master Arrives

"We Want a Divorce" . . . .

Cal York's Monthly Broadcast from Hollywood

They Didn't Mean to Be Funny

Here's the Standard for Beautiful Legs and Feet

Seymour — Photoplay's Style Authority .

What I Like and Hate About Myself .

Mitzi's Hollywood Merry-Go-Round

Photoplay's Hollywood Beauty Shop

"Awfternoon" Tea . . . . .

Kathuyn Dougherty

. Scoop Conlon

Ruth Rankin

Julie Lang Hunt

. KlRTLEY BASKETTE

Sara Hamilton

Winifred Aydelotte
Sylvia

Winifred Aydelotte

Mitzi Cummings

Carolyn Van Wyck

Jane Hampton

Photoplay's Famous Reviews

Brief Reviews of Current Pictures ....
The Shadow Stage .......

Personalities

Mary Pickford's Search for Happiness

He Failed for a Million ....

Carol, Wally and Me ...

Marion Davies' Secrets of Success .

Nonchalant Noel Coward

How Carole Lombard Plans a Party

The New Ambitions of Joan Crawford

Margaret E. Sangster

Jerry Lane

Mrs. Wallace Beery

William P. Gaines

John Rhodes Sturdy

Julie Lang Hunt

, KlRTLEY BASKETTE

On the Cover — Myrna Loy — Painted by Earl Christy

Brickbats and Bouquets
Hollywood Menus .
Ask the Answer Man .

Information and Service

11 Addresses of the Stars
. . 96 Screen Memories from Photoplay

104 The Fan Club Corner

Casts of Current Photoplays

110

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Published monthly by MACFADDEN PUBLICATIONS, INC.

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Entered as second-class matter April 24, 1912, at the Postoffice at Chicago, 111., under the Act of March 3, 1879

M. B. Paul

EVEN you two hundred per cent Americans have to admit that the studios
overseas certainly send Hollywood exotically beautiful women. One of the
newest and loveliest importations is Mady Christians. The Continental star
made her American screen debut in "A Wicked Woman." She's with M-G-M

Photoplay Magazine for February, 1935

^/i^Tictm^

the fighting fury of the screen
meets his match at last in

BETH [HIS

— a hellcat with murder on her
conscience and Muni on her mind

And then things happenl . . , Things
that will burn themselves into your
memory of a drama which combines the
best features of "l Am A fugitive" and
"Of Human Bondage" — Warner Bros.

filEHIffl

with Margaret Lindsay and Eugene
Pallette delivering the other standout
performances in a tremendous cast,
superbly directed by Archie Mayo.

Consult this pic-
ture shopping
guide and save
your time, money
and disposition

Brief R

eviews o

Current 1 ictiires

tAj- Indicates photoplay was named as one of the best upon Us month of review

A DVENTURE GI RL— RKO-Radio.— Unreeling
Joan Lowell's exciting adventures in the tropics. An
liour packed with action. (Nov.)

• AGE OF INNOCENCE, THE— RKO-Radio.
— For those who appreciate an intelligent in-
terpretation of a great theme — love's sacrifice for con-
vention's sake. John Boles and Irene Dunne are a
splendid team. (Nov.)

ALONG CAME SALLY— Gainsborough.— So-so
British musical comedy with Cicely Courtneidge. in
a dual role, and Sam Hardy. (Sept.)

ANNE OF GREEN GABLES— RKO-Radio.—

Romance, humor, pathos suitable for the whole-
family in this story of the orphan (Anne Shirley)
adopted by O. P. Heggie and his sister, Helen
Westley. (Jan.)

ARE WE CIVILIZED— Raspin Prod.— A drama-
tization of various conflicts from the beginning of
civilization, with a powerful sermon on world peace
by William Farnum. (Sept.)

AUTUMN CROCUS— Associated Talking Pic-
tures.— A schoolmistress (Fay Compton), touring
the Alps, falls in love with a young inn-keeper (Ivor
Novello) before she learns he's married. A little slow,
but beautifully done. (Ja n.)

BABY TAKE A BOW— Fox.— Shirley Temple
scores again as the daughter of an ex-convict (James
Dunn) accused of stealing the "pearls." Alan Dine-
hart, Claire Trevor, Ray Walker. (Sept.)

BACHELOR BAIT— RKO-Radio.— As the pro-
moter of a matrimonial agency scheme, Romance,
Inc., Stuart Erwin is perfect. Pert Kelton, Skeets
Gallagher and Rochelle Hudson. (Sept.)

BADGE OF HONOR— Mayfair.— Phony and
amateurish, with some pretty awful dialogue. Buster
Crabbe and Ruth Hall. (Nov.)

• BELLE OF THE NINETIES— Paramount-
La West comes through again with a knockout
performance. Roger Pryor, John Mack Brown,
Katherine De Mille do well. But the film is a major
'riumph of Mae over matter. (Nov.)

BEYOND BENGAL— Showmen's Pictures.— Still
another jungle story with thrilling wild animal shots
and a touching native romance. (Aug.)

BEYOND THE LAW— Columbia.— Railroad de-
tective Col. Tim McCoy's investigation of a killing is
packed with suspense and action. Shirley Grey
(Oct.)

• BIG HEARTED HERBERT— Warners —
Just one heartfelt laugh. Guy Kibbee is
grouchy father, continually reminding Aline Mac-
Mahon and their children of his struggle to success.
(Nov.)

BLACK MOON— Columbia.— It you're in the
mood to see a white woman (Dorothy Burgess) en-
slaved by Voodooism, you'll probably enjoy this,
lack Holt and Fay Wray fine. (Sept.)

BLIND DATE— Columbia.— Moderately satis-
factory film fare about Ann Sothern going out with
Neil Hamilton when "steady" Paul Kelly lets
business interfere with her birthday party (Oct.)

BLUE LIGHT THE— Mayfair Prod.— This
artistic Leni Riefenstahl production will be enjoyed
by all intelligent audiences though dialogue is in
German and Italian. Magnificent camera effects
in the Tyrol. (Aug.)

BLUE STEEL — Monogram. — John Wayne again
outgallops, outshoots and outwits the outlaws,
and rescues heroine Eleanor Hunt. (Aug.)

BRIDE OF THE LAKE, THE— Amer-Anglo

Prod. — Pleasant romance against a background of
Irish country life. Nobleman John Garrick in love
with peasant girl Gina Malo. Stanley Holloway
sings Irish ballads. (Dec.)

BRIDES OF SULU— Exploration Pictures Corp
— Regard this as a scenic travelogue and try to over-
look the poor dialogue. Interesting customs and
characters, with Philippine Archipelago background
(Oct.)

• BROADWAY BILL— Columbia.— Many un-
forgettable scenes in this. Warner Baxter
breaks with paper-box making, his domineering wife
(Helen Vinson) and her father (Walter Connolly).
He stakes everything on a gallant race horse — and
Myrna Loy. (Jan.)

Photoplay

for

MARCH!

The best work of
famous authors,
famous artists —
a corking issue.

On your newsstand
Feb. 5

Photoplay

• BULLDOG DRUMMOND STRIKES BACK
— 20th Century-l'nited Artists. — You must
see Ronald Colman as the amateur detective who
leaps headlong into the most baffling case in many a
day. Loretta Young, Charles Butterworth fine.
(Aug.)

BY YOUR LEAVE— RKO-Radio.— You'll chuckle
plenty. Frank Morgan is the picture, as the husband
in his forties who wants to be naughty and has for-
gotten how. Includes Genevieve Tobin. (Dec.)

CALL IT LUCK— Fox.— An old plot, but Her-
bert Mundin's cockney cabby characterization and
Pat Paterson's fresh charm make it fair entertain
ment (Aug.)

• CAPTAIN HATES THE SEA, THE— Colum-
bia.— Board ship and meet Captain Walter
Connolly, tippling reporter John Gilbert, detective
Victor McLaglen, Tala Birell and other favorites.
It's sprightly and comic. (Jan.)

CASE OF THE HOWLING DOG, THE—

Warners. — Smooth and clever, different and divert-
ing murder varn. Lawyer Warren William solve?
mystery Mary Astor. Gordon Westcott. (Nov.)

CHAINED— M-G-M.— Splend.dly written, acted,
directed, with Joan Crawford married to Otto
Kruger and in love with Clark Gable. (Nov )

CHANGE OF HEART— Fox.— Admirers ot the
Janet Gaynor-Charles Farrell team will like this
ight tale about their experiences with two college
chums in the big town (.4 fig.)

CHANNEL CROSSING — Gaumont- British.—
Melodrama aboard the Dover-Calais liner, in which
Constance Cummings, Anthony Bushell, Nigel
Bruce, Matheson Lang all take important parts.
(Aug.)

CHARLIE CHAN IN LONDON— Fox— Warner
Oland (Charlie Chan) has three days to prevent ex-
ecution of Drue Leyton's brother, accused of a
murder he did not commit. Alan Mowbray involved.

(Dec.)

CHARLIE CHAN'S COURAGE — Fox. — This
yarn, centering around Warner Oland's difficulties in
delivering a string of pearls, is. the least amusing of
the Charlie Chan series. (Sept.)

CHEATING CHEATERS— Universal.— A mys»
tery and crook picture, with comedy and gags. Fay
Wray is the girl crook, and Henry Armetta, Hugh
O'Connell are the comics. Has a snapper twist. (Jan.)

CHU CHIN CHOW— Fox-Gaumont- British-
Colorful British version of Ali Baba and the Forty
Thieves. Fritz Kortner, German star, and Anna
May Wong excellent in leads. (Dec.)

CIRCUS CLOWN, THE— First National.— Joe
E. Brown splendid in the sympathetic role of circus
roustabout who later becomes a trapeze artist.
Patricia Ellis and good support. (Aug.)

CITY PARK— Chesterfield.— As one ot three
cronies who become involved in the destiny of a girl
(Sallie Blane) gone broke in the big city, Henry B.
Walthall is superb. (Nov.)

• CLEOPATRA — Paramount. — A passionate
love story, with Claudette Colbert splendid in
the title role, VVarren William as Caesar, and Henry
Wilcoxon as Antony. A typical DeMille spectacle.
(Sept.)

• COCKEYED CAVALIERS— RKO-Radio —
A hilarious hour in Merrie Olde England with
Wheeler and Woolsey, Dorothy Lee, Thelma Todd
and Noah Beery. Two sure-fire song hits. (Aug.)

• COLLEGE RHYTHM— Paramount.— A bright,
tuneful collegiate musical. Footballer Jack
Oakie steals gill friend Mary Brian from Lanny Ross.
Joe Penner puts in plenty of laughs. (Jan).

• COUNT OF MONTE CRISTO.THE— United !

Artists. — A thrilling film which builds steadily {

to the dramatic courtroom climax. Robert Donat is '
Dantes; Elissa Landi fine, too. (Nov.)

CRIMSON ROMANCE— Mascot.— War story,
good flying, plenty combat scenes. Two pals, Ben
Lyon and James Bush, both fliers, of course, fall in
love with ambulance driver Sari Maritza. (Dec.)

DAMES — Warners. — A barrel ot good humor, and
excellent tunes by Dick Powell, teamed again with
Ruby Keeler. ZaSu Pitts, Guy Kibbee, Hugh
Herbert supply comedy, and Joan Blondell lends a
snappy touch. (Oct.)

[ PLEASE TURN TO PAGE 10 |

Photoplay Magazine for February, 1935

• , n picture
her tn a "

like this

TEMfl£

1 J&&» ]AkBS^ul,N

Brief Reviews of Current Pictures

CONTINUED FROM PAGE 8

DANCING MAN — Pyramid. — Mediocre murder
mystery, featuring Reginald Denny as a gigolo in love
with Judith Allen and affairing with her step-
mother. Natalie Moorhead (Oct.)

• DANGEROUS CORNER— RKO-Radio.— A
story with two endings — what happened and
the "cover-up." Involves a "suicide" — actually a
murder. Full of startling revelations. Ian Keith.
Erin O'Brien Moore, Conrad Nagel, Melvyn Douglas.
Virginia Bruce, others. Excellent. {Dec.)

DEATH ON THE DIAMOND— M-G-M— Im-
probable in spots, yet meat for baseball and mystery
devotees. Paul Kelly convincing as a reporter.
Robert Young and Madge Evans love interest (Nov.)

DEFENSE RESTS, THE— Columbia.— Enter
taining story of a none-too-ethical but unbeatable
criminal lawyer (Jack Holt) forced to defend a kid
naper. Jean Arthur. (Nov.)

DESIRABLE— Warners.— A neat gem that will
please the entire family. New laurels for Jean Muh
and George Brent. (Nov.)

DOWN TO THEIR LAST YACHT— RKO-
Radio. — Fine cast wasted in this tale of "Blue
Bookers" of 1929 giving away to "Brad Streeters" of
1934. Sidney Fox, Ned Sparks, Polly Moran, Marv
Boland, Sidney Blackmer. (Nov.)

DRAGON MURDER CASE, THE — Firs
National. — Not up to the S. S. Van Dine standard —
nevertheless satisfactory film fare. Warren William
is a convincing Philo Vance. Helen Lowell, Mar-
garet Lindsay. Lyle Talbot. (Nov.)

DR. MONICA — Warners. — Kay Francis handles
the title role with finesse. And Jean Muir, as tin-
friend in love with Kay's husband (Warren William I
is superb. (Sept.)

DUDE RANGER, THE— Fox— If you like West-
erns, you may like this one. George O'Brien rides.
Irene Hervey, Leroy Mason, Henry Hall in it. (Dec.)

ELINOR NORTON— Fox.— A completely boring
attempt to depict the quirks of a diseased mind.
Claire Trevor, Hugh Williams, Gilbert Roland
bogged down by it. (Jan.)

ELMER AND ELSIE— Paramount.— Light familj
fare, with Frances Fuller and George Bancroft who
reveals hitherto concealed comedy talents. (Oct.)

EMBARRASSING MOMENTS— Universal— In
the role of a practical joker, Chester Morris does an
excellent acting job, and there's never a dull moment
Marian Nixon, Walter Woolf. (Aug.)

ENTER MADAME— Paramount.— Spotty enter-
tainment despite Elissa Landi's brilliant perform-
ance as a capricious prima donna. Gary Grant, her
bewildered spouse, has a brief relief in a quieter love.
(Jan.)

• EVELYN PRENTICE— M-G-M.— Myrna Loy
thinks she has murdered a man, but Isabel
Jewell is accused. Then Myrna's lawyer-husband is
engaged to defend Isabel. Another Lov-Powell hit.
(Jan.)

FIREBIRD, THE— Warners.— Ricardo Cortez.
actor, is killed when he tries to ensnare Verree Teas-
dale, Lionel Atwill's wife, in a love trap, catching
instead Verree's daughter, Anita Louise. Good adult
entertainment. (Jan.)

• FLIRTATION WALK— First National-
Colorful West Point is the background of the
Dick Powell-Ruby Keeler charm. Pat O'Brien's a
tough sergeant. Take tire family (Jan.)

FOR LOVE OR MONEY— British & Dominion.
— Catalogue this one under " Mild and Slow-Moving.'
Wendy Barrie and Robert Donat play the leads
(Oct.)

FOUNTAIN, THE— RKO-Radio.— Rather slow-
moving, yet exquisitely produced with a capable cast
ncluding Ann Harding Paul Lukas and Brian
Aherne. (Nov.)

FRIDAY THE 13th— Gaumont-British.— An in-
teresting and revealing check-back on the activities
of several persons who are in a bus crash at mid-
night of this fateful day. (Aug.)

FRIENDS OF MR. SWEENEY— Warners— Fair
slapstick, with Charles Ruggles a scream as the row-
dy college lad who becomes a brow-beaten editorial
writer. Eugene Pallette, Ann Dvorak (Aug.)

FUGITIVE LADY— Columbia.— Florence Rice
makes a successful film debut as a woman on her way
to jail, double-crossed by a jewel thief (Donald
Cook), when a train wreck puts her into the role of
the estranged wife of Neil Hamilton. Plenty of action.
[Jan. I

GAY BRIDE, THE— M-G-M.— Chorine Carole
Lombard, out for a husband, becomes involved with
gangsters who bump each other off for her pleasure.
Nat Pendleton, Sam Hardy, Leo Carrillo pay while
Chester Morris wins. (Jan.)

• GAY DIVORCEE, THE — RKO-Radio. —
Grandly amusing. Fred Astaire's educated
dancing feet paired with those of Ginger Rogers.
He's mistaken for a professional corespondent by
Ginger, seeking a divorce. Edward Everett Horton,
Alice Brady pointed foils. (Dec.)

GENTLEMEN ARE BORN— First National —
Franchot Tone is one of four college pals trying to
find a job today. Jean Muir, Nick Foran, others
good. It has reality. (Jan.)

• GIFT OF GAB— Universal.— Edmund Lowe,
fast talking news announcer, flops, but is
boosted up by Gloria Stuart. Story frame for gags,
songs, sketches. Alexander Woollcott, Phil Baker,
Ethel Waters, Alice White, Victor Moore. (Dec.)

• GIRL FROM MISSOURI, THE— M-G-M
— Fast and furious adult fare, presenting Jean
Harlow as a "good girl" chorine, and Franchot
Tone as her millionaire "catch." Fine cast includes
Lionel Barrymore. (Oct.)

GIRL OF THE LIMBERLOST, A— Monogram.
— Folks who enjoyed Gene Stratton Porter's novel
will want to see this. Marian Marsh. Louise Dresser
Ralph Morgan well cast. (Nov.)

GIRL O' MY DREAMS— Monogram.— Much
rah-rah and collegiate confusion, with Sterling Hollo-
way's comicalities unable to pull it through. Mary
Carlisle, Eddie Nugent do well. (Jan.)

• GREAT EXPECTATIONS — Universal-
Dickens' charm preserved by George Breakston
as orphaned Pip. later by Phillips Holmes. Florence
Reed, Henry Hull and others. (Jan.)

GREAT FLIRTATION, THE— Paramount-
Jumbled and sentimental but colorful story of an
actor's (Adolphe Menjou) losing popularity with
marriage, and his wife (Elissa l^andi) becoming a
star. (Aug.)

GREEN EYES — Chesterfield. — A stereotyped ;
murder mystery. Charles Starrett, Claude Gilling-
water, Shirley Grey, William Bakewell, John Wray,
Dorothy Revier are adequate. (Jan.)

HAPPY LANDING — Monogram.— Plenty oi
thrills when Border Patroller Ray Walker goes after
crooks who use the radio to get him in a jam, and
threaten bombing an ocean liner. A-l support.
(Oct.)

HAT, COAT AND GLOVE— RKO-Radio.— Fair

adaptation of the stage play, in which lawyer Ricardo
Cortez defends his wife's lover, accused of murder ,
Superb performances by every cast member. (Oct.)

HAVE A HEART— M-G-M.— A wistful tale about
the love of a cripple (Jean Parker) for an ice-cream
vendor (Jimmy Dunn). Una Merkel - Stuart Erwin
are a good comedy team (Nov. )

HEART SONG— Fox-Gaumont-British— A pleas-
ant little English film with Lilian Harvev and Charles
Boyer. (Sept.)

HELL IN THE HEAVENS— Fox— A gripping

depiction of a French air unit in the late war. Warner
Baxter is an American with the outfit. Conchit.i
Montenegro is the only feminine influence. (Jan.)

HERE COMES THE GROOM— Paramount —

So-so comedy featuring Jack Haley whom Patricia
Ellis introduces to family as her crooner husband.
But the real crooner turns up — and then! (Aug.)

• HERE COMES THE NAVY— Warners— One
of the best Cagney pictures to date, and prob-
ably the most exciting navy picture you've seen.
Jimmy, Pat O'Brien, Gloria Stuart and Frank
McHugh all turn in ace performances. (Sept.)

HE WAS HER MAN— Warners.— Jimmy Cagney
in a gangster film with a brand-new angle. Joan
Blondell, Victor Jory. Fair (Aug.)

• HIDE-OUT— M-G-M.— As a racketeer play
boy, escaped from police, and being "done
over" by Maureen O'Sullivan. Robert Montgomery
does a fine job. In fact, every one in the cast rates
praise (Oct.)

HIGH SCHOOL GIRL— Bryan Foy Prod.— Plot
and dialogue are directed toward early sex knowledge.
Well presented. Crane Wilbur, Cecilia Parker
(Aug.)

• HIS GREATEST GAMBLE— RKO- Radio-
Richard Dix's struggle with his convention-
loving wife for the molding of daughter Edith Fellows' '
character makes interesting screen fare Dorothy
Wilson and Bruce Cabot. (Sept.)

HOUSEWIFE— Warners.— Encouraged by his
wife (Ann Dvorak), George Brent starts his own
business, acquiring wealth and a mistress (Bette
Davis). Just so-so entertainment (Oct.)

• HUMAN SIDE, THE— Universa..— Accu-
rately titled — a family story that is entertain-
ing from start to finish. Adolphe Meniou, Doris
Kenyon, Reginald Owen. (Nov.)

1 CAN'T ESCAPE— Beacon Prod.— Onslow
Stevens does a grand characterization of the ex-
convict who goes straight when he meets the right
girl (Lila Lee). (Aug.)

[ PLEASE TURN TO PAGE 13 ]

Photoplays Reviewed in the Shadow Stage This Issue

Save this magazine — refer to the criticisms before you pic\ out your evening s ent

Page Page
Home on the Range — Paramount 112

Babbitt— First National 72

Babes in Toyland — Hal Roach-M-G-M. 72
Battle, The — Leon Garganofi Prod. ... 73

Behold My Wife— Paramount 72

Bright Eyes — Fox 71

Curtain Falls, The — Chesterfield 112

Dealers In Death — Tropical Film 113

Evensong — Gaumont-British 73

Father Brown, Detective — Paramount. 112

Fighting Rookie, The— Mayfair 113

Flirting With Danger — Monogram . 112
Fugitive Road — Invincible 112

I Am a Thief — Warners 73

Imitation of Life^-Universal 70

In Old Sante Fe— Mascot 112

It's a Gift — Paramount 72

Marie Galante — Fox 72

Maybe It's Love — First National 112
Mighty Barnum, The — 20th Century-
United Artists 70

Night Alarm — Majestic 112

One Hour Late — Paramount 72

ertamment. Ma\e this your reference list.

Page

Perfect Clue, The — Majestic 112

President Vanishes, The — Walter \\ an-
ger-Paramount 71

Red Morning— RKO-Radio 112

Romance in Manhattan — RKO-Radio 71

Sequoia— M-G-M 70

Silver Streak, The— RKO-Radio 112

Strange Wives — Universal 73

West of the Pecos— RKO-Radio 73

When a Man Sees Red — Universal. . . . 112
Wicked Woman, A— M-G-M 73

Brickbats A Bouquets;

THE AUDIENCE TALKS BACK ••••

When the audience speaks the stars and producers listen. We offer three prizes tor the best
letters of the month — $25, $10 and $5. Literary ability doesn't count. But candid opinions and
constructive suggestions do. We reserve the right to cut letters to fit space limitations. Address
The Editor, PHOTOPLAY Magazine, 1926 Broadway, New York City.

THE $25 LETTER

I am quite sure this is the first letter you have
ever received from one who listens to your mag-
azine. I am a blind boy of eighteen, but every
month I buy Photoplay and my sister reads
it to me.

I go to the movies very often, more often
than the average person, even though I cannot
see the pictures. At the top of my list of favor-
ites is Ann Sothern, then Fay Wray, Myrna
l.ov. Kitty Carlisle, Grace Moore, Maureen
O'Sullivan. Of the men, Fredric March, Joe E.
Brown and William Powell

Once in a movie house I saw — or thought I
saw — a flash of light and a movement of
objects for a second. The doctor says perhaps
I did see it. And that second of "sight" pro-
vides me with my only ray of hope — hope
found in one of your movie palaces — that some
day I too may see.

E. N. V., New York City

THE $10 LETTER

I am a widower with six youngsters, and the
movies are helping me with the many real prob-
lems I have to solve.

Although we live twenty miles from town,
the children and myself go in to a movie about
once every two weeks. If it's a Janet Gaynor
(picture, the girls insist on our going. If it's
Will Rogers, my eldest boy says we must see it!
For the littlest ones, Mickey Mouse and Krazy
Kat are the whole show. And when I get in my
word, it's for Walter Huston and Leslie
Howard.

! But whatever the picture, it is good enter-
tainment for us.

It doesn't end when the show is over either.

Through the long evenings we go over and over
it. Why, after seeing "State Fair," I actually
had to be Blue Boy — grunting around on all
fours and even eating bran!

^ es, we certainly appreciate the movies!
B. J. Anderson, Fairview, Montana

THE $5 LETTER

One rainy night recently while waiting for a
bus, I heard a crowd of small hoodlums, plan-
ning to rob a fruit store.

A middle aged man standing beside me also
heard the conversation. Stepping up to the
eldest boy, he said: "Son, it's been impossible
to get a cab tonight! If you'll find me one I'll
treat the crowd of you to a movie! How's
that?"

For a moment, they stared at him suspici-
ously. Then one of them darted off to hunt for
the cab while the others told the man that the
picture they wanted to see was being shown
just down the street.

Thus a certain fruit store wasn't robbed that
night and perhaps the juvenile court was
spared a case.

Those little Jesse James were too busy see-
ing, "Treasure Island!"

Ruth King, Cranford, N. J.

This picture is printed as
proof that comedian Snub
Pollard is still very much
alive. He says so himself
in one of the first letters
this department has ever
received from an actor!
Apologies, Snub

Has Garbo changed? Some of our readers think so. It is certainly a
smiling and human Garbo you see above, with Herbert Marshall and
Jean Hersholt in a scene from her new movie, "The Painted Veil"

After seeing her in "The White
Parade," many readers believe Jane
Darwell is the person who will now
do the type of roles the beloved Marie
Dressier once filled. Miss Darwell
is shown signing a Fox contract

Well, all of you went very se-
rious on us this month! True,
there were stacks of raves
written to Robert Donat, and
bouquets to Ginger and Fred
Astaire. Rut otherwise —
solemn sermons on movies,
long lectures on what pro-
ducers should do, and hun-
dreds of other serious theses.
Somebody please tell usa joke !

Brickbats & Bouquets

WRITE US YOUR CRITICISM

o • • •

• • o ©

CONTINUED FROM PAGE 11

A NEW GRETA?

Is Garbo's iciness and seclusion going to
melt? In most any picture nowadays she no
longer has a sad, tragic face. I think she looks
better smiling. Here's luck to the changed
Garbo.

K. C, Scarsdale, N. Y.

GLAD YOU ARE ALIVE, "SNUB"

It was with much sorrow that, in your issue
of November, 1934, I read of the sad demise of
Snub Pollard, the distinguished veteran. How
much of a shock I received you may judge for
yourself when I tell you that I knew him very
well — in fact, all my life.

You've heard of the "quick and the dead?"
Well, this poor old corpse is awful quick to
assure you that he is alive and very much kick-
ing in this land of forgotten men — Hollywood.
Since the oft-repeated news of his decease, he
has graced with his presence such pictures as

"Stingaree," "The Cockeyed Cavaliers," and
"One More River."

The Harry Pollard who died was the direc-
tor. Yours truly, Harry SNUB Pollard, the
comedian, is still doin' nicely, thank you! So
here's to reading about him in the next edition
of your very popular Photoplay Magazine.
"Snub" Pollard

THE MOST BELOVED

Never, have I approved of naming successors
to departed stars but since the passing of
Marie Dressier, there has been an empty spot
in my heart that has forced me to seek some
one to fill it — if possible.

Last night I saw The White Parade. As this
tremendous drama unfolded. I suddenly real-
ized that an actress was tugging at my heart
strings as only Marie had done before. Yes sir.
there she was, a big hearted soul shouting
orders like a general. Hearty laughter in one
breath was drowned with tears in the next.

I mean, of course Jane Darwell the slim girl
who twenty years back entertained us in films,
has returned with her comfortable avoirdupois
in a characterization that will make her the
most woman beloved on the screen.
Frances Silvertson, San Francisco, Calif.

ROYALTY IN DANCING SHOES

My hat is off to Fred Astaire and Ginger
Rogers for their splendid performance in "The
Gay Divorcee." All the nation must hail them
as the King and Queen of the Musical World!
And the picture is the most amusing musical
comedy that has ever been produced. It not
only introduces new song hits but starts the
nation in a new and brilliant dance. The Con-
tinental.

Ronald C. Baron, Bakersfield, Calif.

DRY YOUR EYES

I'm asking the world why the general trend
of movie productions are going tragic? For
weeks after a sudden bereavement in our fam-
ily I tried to find a picture that would make me
forget myself and smile a little.

There's enough grim reality in the world
without rubbing it in by giving a teary screen
diet. The only happy note I've seen and heard
lately is Grace Moore's "One Night of Love"
— a beautiful picture.

I hope it blasts tragic films from the picture
industry and blazes the way for a new version

! PLEASE TURN TO PAGE 14 ]

The plea for some good
Westerns is being
heeded by several of the
major studios. Here is
a scene from the RKO-
Radio cowboy thriller,
"West of the Pecos."
Many believe that cen-
sorship and the desire
for simpler pictures will
bring the Western back
into favor

Hold on a minute, you
impatient ones who are
howling for another pic-
ture teaming Loretta
and Ronald! It's on the
fire! Miss Young and
Mr. Colman will greet
you next in the 20th
Century picture, "Give
of India." And it looks
like they're taking it
seriously

Some movie-goers have been
brick-batty because their fa-
vorites are typed in roles not
like their personalities. For ex-
ample, Miss Farrell, always a
gold-digger on the screen, is
really a nice, hard-working girl
at home

Photoplay Magazine for February, 1935

■3

Brief Reviews of
Current Pictures

CONTINUED FROM PAGE 10

I GIVE MY LOVE— Universal.— Paul Lukas.
Vynne Gibson, Eric Linden, John Darrow all do
erve better than this familiar story of the mother
•vho makes a great sacrifice for her son. (.-la J

I SELL ANYTHING — First National.— Pat

J'Brien talks you to death as a gyp aucti :er who is

a ken by a society golddigger (Claire Dodd). Sadder
nd gabbier he returns to Ann Dvorak. Uan.)

IT'S A BOY — Gainsborough. — In this British
arce, Edward Everett Horton is top-notch, but that
sn't quite enough to carry the whole picture. (Sept.)

JANE EYRE — Monogram. — The old classic, han-
lled with taste, but slow in the telling. Virginia
irery beautiful, and Colin dive does a good
cting job. (Sepl.)

A. JUDGE PRIEST— Fox.— Will Rogers makes
^ Irvin S. Cobb's humorously philosophical char-
ter live so enjoyable, you wish you were a part of
lie drowsy Kentucky setting. The music heightens

our desire. Tom Brown, Anita Louise the love in-
erest. Perfect cast. (Dec.)

KANSAS CITY PRINCESS, THE— Warners —
omedy, "so-called," about two manicurists (Joan
plondeil, Glenda Farrell) out to do some gold-
'ligging. Not for children (Nov.)

KENTUCKY KERNELS— RKO-Radio.— Wheeler
nd Woolsey as custodians of a young heir, Spanky
vIcFarland, mixed up with a Kentucky feud, moon-
ihine and roses. It's hilarious. (Jan.)

KEY, THE— Warners.— Melodrama about the
finn Feiners warfare with English troops in Dublin
k 1920. Colin Clive, William Powell, Edna Best.
'lot weak in spots. (Aug.)

k KID MILLIONS— Samuel Goldwyn-United
^ Artists. — A Cantor extravaganza complete
.it.li hilarious situations, gorgeous settings, catchy
unes and a grand cast. (Jan.)

KISS AND MAKE-UP— Paramount.— Plenty of
iughs while Genevieve Tobin divorces Edward
verett Horton to marry beauty specialist Cary
rant who really loves Helen Mack. (Aug.)

^ LADIES SHOULD LISTEN— Paramount.—
W Delightfully adult society comedy, with Cary

rant revealing himself as a farceur of distinction in
he role of a Parisian bachelor. Frances Drake,

dward Everett Horton and Nydia Westman all
plendid. (Oct.)

, LADY BY CHOICE— Columbia.— Fresh and
W original, with a new situation for May Robson.
arole Lombard, fan dancer, "adopts" May, an
repressible alcoholic, as her mother for a publicity
ag. Roger Pryor, Walter Connolly important. (Dec.)

LADY IS WILLING, THE— Columbia.— Leslie
ioward in a mild little English farce. Binnie Barnes,
\Tigel Bruce. (Nov.)

>X, LAST GENTLEMAN, THE— 20th Century-
W United Artists. — An interesting character
ftudy of an eccentric old man (George Arliss) who
ian't decide on his heir. Real, refreshing and enter-
aining. Splendid support. (Aug.)

\ LAST WILDERNESS, THE— Jerry Fairbanks
['rod. — A most effective wild animal life picture,
lasn't bothered with the sensational and melo-
ramatic. Howard Hill deadlv with bow and arrow.
Dec.)

LAUGHING BOY— M-G-M.— Dull, slow-mov-
'ig filmfare about Indian boy Ramon Novarro's love

fr Lupe Yelez who knows evil ways of the white
ce. Effective photography. (Aug.)
LEMON DROP KID, THE— Paramount— A
.ace-track tout goes straight for marriage and a baby.
lee Tracy. Helen Mack. William Frawlev, Babv
LeRoy, Minna Gombell. Henry B. Walthall. (Dec.)

X- LET'S TALK IT OVER— Universal —
^ Young and old will be amused by the trans-
jrmation of sailor Mike McGann (Chester Morris).
;dl for the love of a society damsel (Mae Clarke).
\Aug.)

\ LET'S TRY AGAIN— RKO-Radio.— Slow-mov-
ig and much too talkie is this film in which Diana
\ jrnyard and Clive Brouk play a ten-years-married
ouple falling out of love. Helen Vinson. (Oct.)

LIFE OF VERGIE WINTERS, THE— RKO-

:tadio. — Louis Bromfield's story of a lingering,
licit love sacrificed to a political career is well acted
iy Ann Harding and John Boles. Supporting cast
frst-rate. (Aug.)

LIGHTNING STRIKES TWICE— RKO-Radio.

-A mystery built on a murder that didn't happen,
•on Lyon and Skeets Gallagher are amusing. Pert
^elton is a fan dancer. Story at fault. (Jan.)
[ PLEASE TURN TO PAGE 15 I

Soli^l\

lour:

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THREE MONTHS AGO I
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ROMANCE

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Brickbats & Bouquets

HOLLYWOOD WANTS TO KNOW

••••

CONTINUED FROM PA(.E 12

nf the old fashioned picture — the one Sunday
Afternoon romance, the lazy elm shaded main
street picture, or good Westerns.

Helen C. Wixlsey, Boise, Idaho

RAHS FOR THE TEAM

Gentle readers, you may name all the new
screen teams you want. But in my opinion,
you can't top one that is already in existence —
Loretta Young and Ronald Colman. I shall
never forget their work in "Bulldog Drum-
mond Strikes Back." How about another pic-
ture teaming them, studios?

A. W. Worth, Denver, Colo.

EAVESDROPPER'S THANKS

I thoroughly enjoyed eavesdropping on the
most intimate secrets of the most fantastic
lover of the ages — " Madame Du Barry."

Thank you, Dolores, for giving us such a
human, lovable "Du Barry," rather than a
scheming politician.
Mrs. Charles Toles, Colorado Springs, Colo.

GIVE MR. COWBOY A CHANCE

Why is it that the best talent, the big names,
and unlimited funds are showered on gangster,
historical, and love pictures, but, somehow, the
line is drawn on Westerns? This outright dis-
crimination against Westerns is a puzzle to me,
and it is to blame for their decrease in popu-
larity.

Elissa Landi, who has been com-
ing in for a large share of bou-
quets recently, is a fine organist
as well as a novelist and screen
star. In her new home this pipe
organ has been installed

Robert Raynold's prize-winning novel
"Brothers in the West," for example, is a per
feet vehicle for a nation-wide box office attrac
tion if well produced with a star of the firs
magnitude in the lead role.
Raymond Goldsmith, Staten Island, N. Y.

SENTENCED FOR GOLD-DIGGING

I'm demanding a pardon for one of my fav
orites. She's been sentenced too long to on<
type of role. I mean Glenda Farrell and hei
gold-digging parts. She's a fine woman, and ir
her real life she is an intelligent person of gen
erous impulses, warmth and understanding.

I would like to see her cast as a young
mother, for example. Anyhow in some role thai
would permit her own personality to shin*
through.

J. B. Dean, Kansas City. Mo.

SMALL TOWN SLICKER

A few weeks ago I had the opportunity ol
visiting friends in New York City. Coming
from this small town in Ohio I was considerec
from the sticks. But when we started on my
sight seeing tour — Every time they pointed oul
a place I could truthfully say " Oh, yes! I haw
seen that before." When they would ask vat
just when I had seen it, I would reply, "Or,
the screen," recently.

Yes, you have brought Broadway to the
small cities! But please have your camera
come out in these here parts and take a few.
pictures for my friends back East. It's the only,
way they will ever be able to break even with
me.

Wayne Milton Weber, Galion, Ohio

HERE COMES A MARINE

This is a voice from the Service. We Marines
see more country than most civilians will ever
see, and w:e have experiences that civilians can
only read about.

[ please turn to page 16 1

Oh, no! All the baby medals aren't going to little

Shirley Temple and Baby LeRoy! Dickie Moore has

been pedalling right along for his share of moviedom's

interest in children stars

And Spanky McFarland is riding right up into film

fame, too. Known since "didey days" for his work

in "Our Gang" comedies, Spanky recently came

through featured in "Kentucky Kernels"

Photoplay Magazine for February, 1935

■5

Brief Reviews of Current Pictures

[ CONTINUED FROM PAGE 13

LIMEHOl'SE BLUES— Paramount.— Gruesome
lor the kids, old stuff for the adults. Lurking Chinese,
thugs, dope, Scotland Yard. George Raft, Jean
Parker, Kent Taylor, Anna May Wong. (Jan.)

LITTLE FRIEND— Gaumont- British. —The
tragic story of a child victim of divorce. Outstanding
is the performance of Nova Pilbeam, British child
actress. Worthwhile. {Jan.i

• LITTLE MAN, WHAT NOW?— Universal-
Touching .mil very real is this story of a young
couple's struggle with life. Margaret Sullavan is
superb, and Douglass Montgomery's role tits him
ove. (Aug.)

LOST IN THE STRATOSPHERE— Monogram.

— Eddie Nugent, William Cagney, differ over June
Collyer. Enemies, they are up in the air fourteen
miles and the balloon goes haywire. For the young-
sters. {Jan.)

LOST JUNGLE, THE— Mascot.— Clyde Beatty
gives an exciting performance with both lions and
tigers in the big cage. And his South Sea Isle ex-
periences add to thrills. (Sept.)

LOST LADY, A— First National.— Willa Cather's
novel, considerably revamped. Barbara Stanwyck
nne in title role; Frank Morgan and Ricardo Cortez
satisfactory. (Nov.)

| LOUISIANA— Robert Mintz Prod.— Some of the
scenes in this odd film about a group of Negroes torn
between their pastor's teaching and Voodooism are
really fascinating. Beautiful voices are heard in
.spirituals. (Sept.)

LOVE CAPTIVE, THE— Universal.— A confused
over use of hypnotism in certain illnesses. Nils
Asther, Gloria Stuart and supporting cast fine, but
toryisweak. (Aug.)

LOVE TIME— Fox.— The struggles of Franz

hubert (Nils Asther); his love for a princess (Pat

Paterson); her father's (Henry B. Walthall) efforts to

separate them. Lovely scenes, lovely music. (Dec.)

LOYALTIES— Harold Auten Prod.— An over-
played adaptation of John Galsworthy's play based
bn an attempt to degrade a wealthy Jew, with the
|Iew victorious. Basil Rathbone the Jew. (Jan.)

MADAME DU BARRY— Warners— An elabo
ate and diverting presentation of Madame Du-
"..irry's (Dolores Del Rio) pranks in the French

nurt. King Louis XV is brilliantly portrayed by
Reginald Owen. (Aug.)

MAN FROM UTAH, THE— Monogram.— Thrill-
ng rodeo shots speed up this Western in which
fohn Wayne exposes the racketeers. Polly Ann
iv'oung is the feminine interest. (Aug.)

MAN OF ARAN — Gaumont-British. — A pictorial
aga of the lives of the fisher folk on the barren isles of
Aran off the Irish coast. (Jan.)

MAN WITH TWO FACES, THE— First Nation
il. — Clear cut character drawing, intelligent direction
md Edward G. Robinson make tliis a decidedly good
how. Mary Astor. Ricardo Cortez, Louis Calhern
Aug.)

MENACE — Paramount. — Mystery. Starts weak,
>ut picks up, and you'll be well mystified. A mad,
nan threatens Gertrude Michael, Paul Cavanagh-
nd Berton Churchill whom lie blames for his
Irother's suicide. (Dec.)

MERRY FRINKS, THE— First National.— Aline
MacMahon, Hugh Herbert, Allen Jenkins, Frankie
Jarro, Joan Wheeler and Guy Kibbee are all valuable
1 making up a comedy well worth your time. (Aug )

JL, MERRY WIDOW, THE— M-G-M.— Oper-
^ etta striking a new high in lavish magnificence,
eanette MacDonald and Maurice Chevalier rate
onors for their performances. (Nov.)

MERRY WIVES OF RENO— Warners.— This
■eble and unamusing tale is too much even for the
apable cast, including Margaret Lindsay, Donald
Aoods, Ruth Donnelly, Guy Kibbee. (Aug.)

MIDNIGHT ALIBI— First National.— As the
mg leader who loves the sister (Ann Dvorak) of a
val gangster, Richard Barthelmess, comes through
p fine style. New plot twist. (Aug.)

MILLION DOLLAR RANSOM— Universal— In
,ie role of a former liquor baron trying to go straight,
dward Arnold is superb. Phillips Holmes and
Iary Carlisle do nice work, too. (Oct.)

MONEY MEANS NOTHING— Monogram.— A
w dull spots, but on the whole this yarn about the
npping clerk (Wally Ford), who marries the
ealthy girl (Gloria Shea) is amusing (Aug.)

MOONSTONE, THE — Monogram. — David
Manners and Phyllis Barry do a good acting job in
spite of poor direction and a loose screen play. (Oct.)

MRS. WIGGS OF THE CABBAGE PATCH-

Paramount. — Interesting adaptation, with Pauline
Lord, ZaSu Pitts, W. C Fields and a host of othe;
fine players. (Nov.)

• MURDER AT THE VANITIES— Para
mount. — Two backstage murders make the
opening night of Earl Carroll's show a memorable
one. Carl Brisson, Kitty Carlisle and a host of well
known players in support. (Aug.)

MURDER IN THE PRIVATE CAR— M-G-M.—

A riot of thrills and nonsense cover up weak spots in
plot. Mary Carlisle, Una Merkel, Charles Ruggles
Russell Hardie all well cast (Sept.)

MURDER IN TRINIDAD— Fox— While Nige
Bruce investigates smuggling of diamonds out of
Trinidad, two men are killed. Exciting melodrama
Victor Jory. Heather Angel (Aug.)

MURDER ON THE BLACKBOARD— RKO

Radio. — Plenty of action, suspense and chills, with
Edna May Oliver superb in a humorous Philo
Vance role. Jimmy Gleason and Regis Toomey
(Aug.)

• MUSIC IN THE AIR— Fox— Gloria Swanson
returns in this charming musical as a tempestu-
ous opera star in love with her leading man, John
Boles. Gay and tuneful. (Jan.)

MYSTIC HOUR, THE— Progressive.— Crooked-
est crooks, fightingest fights, tag with fast trains,
middle-aged hero, dastardly villain, his bee-ootiful
ward. But no custard pies. Montagu Love, Charles
Hutchison, Lucille Powers. (Dec.)

NELL GWYN— British & Dominion-United
Artists. — Sir Cedric Hardwicke and Anna Neagle
in a weak screen story on the life of the lowly actress
who became a favorite of King Charles II (Oct.)

NORAH O'NEALE— Clifton-Hurst Prod.— Dub-
lin's Abbey Players, famous on the stage, fail in their
first movie. Lacks their spontaneity and charm on
the stage. (J.i n.)

NOTORIOUS SOPHIE LANG, THE — Par

amount. — Comedy-melodrama with Gertrude Michael
and Paul Cavanagh as crooks vying for first place
in their profession. Alison Skipworth. (Sept.)

• NOW AND FOREVER— Paramount —Baby
Shirley Temple scores again as vagabond
adventurer Gary Cooper's motherless tot. Carole
Lombard is Gary's beautiful love. Principals and
support A-l. (Oct.)

• OLD-FASHIONED WAY, THE — Par
amount. — Paralyzing gags, situations and
lines in this Gay Nineties story featuring W. C. Fields,
Baby LeRoy, Judith Allen, Joe Morrison and revival
cast of stage play "The Drunkard." (Sept.)

ONCE TO EVERY BACHELOR— Liberty.— A

veteran comedy-drama plot, but the cast gives it life
and sparkle. Marian Nixon, Neil Hamilton and
Aileen Pringle (.1«;; I

ONE EXCITING ADVENTURE— Universal.—
Striving for suavity robs story of much charm. Neil
Hamilton reforms Binnie Barnes, who picks up
diamonds hither and thither. Has laughs, and Paul
Cavanagh, Eugene Pallette, Grant Mitchell. (Dec.)

ONE MORE RIVER— Universal.— Americans
will find this account of Diana Wynyard's affair witli
Frank Lawton, resulting in a divorce from her cruel
husband, a trifle ponderous. (Oct.)

• OPERATOR 1.?— M-G-M— Marion Davie*
does fine work as a spy in this Southern
extravaganza with Civil War background. Gary
Cooper is a spy for the opposite side. (Aug.)
( PLEASE TURN TO PAGE 122 )

I WAS SLUGGISH
AND A MARTYR
TO BILIOUSNESS

• My skin was pasty and even after 8
hours sleep I'd get up tired. I looked every
day of my 35 years and then some. For
6 years I'd been a continuous sufferer
from biliousness, sour stomach caused by
constipation. I think I spent hundreds of
dollars on medicines. Then the wife of our
druggist told me about FEEN-A-MINT.
It is the only laxative I have used for
2 years and it has worked marvels. My
husband says I'm like a different per-
son. FEEN-A-MINT has done wonders
for my little girl, too — now she eats like
a child should because it keeps her regu-
lar as a clock.

Pleasing taste makes FEEN-A-MINT
easy to take

Another experience typical of the hundreds of
people who write us gratefully about the relief
FEEN-A-MINT has given them. FEEN-A-
MINT is not only positive in its purpose but a
pleasing and delicious chewing gum. That is why
it's so easy to take— children love it. And because
you chew it the laxative works more evenly
through the system and gives more thorough
relief without griping or binding. Next time you
need a laxative get FEEN-A-MINT. 15 and 25f»
at your druggist's. Used by over 15. 000,000 people.

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ough-

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FEEN^MlNT

THE CHEWING-GUM LAXATIVE

Brickbats & Bouquets

••••THE VERDICT OF THE PUBLIC

• • • •

I CONTINUED FROM PAGE 14 |

Vet, when the bugle call sounds, meaning
movies are ready to start on the quarter deck,
there's a mad scramble of men, carrying
benches, stools, and chairs, to sit on.

And it would be hard to find a brickbat
thrower in the whole crowd — for we've been
"at sea" for many weeks, perhaps, with never
a glimpse of a member of the opposite sex or
anything resembling home life. It's a real
treat to see it on the screen.

George M. Jones, U. S. S. Arizona
San Pedro, Cal.

BABY STAR-GAZER

At the age of eighteen days our little daughter
saw her first movie. The spectators who chanced
to see her being dragged that late in the evening
to a movie, probably critized her parents.

She is now twenty-two months old. And the
movie habit has not made her a nervous child.
It probably is partially responsible for the fact

Sorry, you two hundred
per cent Americans, but
few native stars have re-
ceived as many bouquets
as the English Robert
Donat. His fine work in
"The Count of Monte
Cristo" lured ladies to
write

that this youngster is at much at home in a
strange hotel suite or in a pullman car as she is
in her own little nursery.
.Mrs. Thomas B. Conley, Memphis, Tenn.

WE HEARD YOU!

There's been so much shouting about Raby
LeRoy and Shirley Temple, I'm afraid my
lusty yells for Spanky McFarland and little
Dickie Moore can't be heard! But I'm holler-
ing louder and longer — Spanky's been a screen
veteran since didey days and Dickie is as
clever a youngster as ever faced a camera.
Praise for both of them — by loud speaker.
J. Arnold, Springfield, 111.

SWEET TWOSOME

I would like to see whom I consider the
sweetest couple on the screen in a few pictures
that are not sad.

Helen Mack and Lee Tracy.

D. Stanton, Oneida, X. Y.

REFORM OF THE WEST

In days of old

When knights were bold,

And damsels were so shy,

The knights were prone

To roam from home

And leave the maids to cry.

But since Mae West

Has done her best

To teach them how to win,

With use of wiles

And shrewd beguiles,

They always get their men.

Marvin Moor, Fort Worth, Texas

FIVE YEARS LATER

Recently a number of my friends were dis-
cussing photoplays we had seen during the past
five or six years.

Realism came and went, so did musicals.
Then " Nothing but the Truth" with Richard
Dix came into the conversation and lingered on.

Everyone remembered it. And I consider it a
high compliment to Dix that all of us recol-
lected, in detail, his superb performance — after
five years! A splendid actor, Richard Dix. We
don't get half enough of him!

James C. Grieve, Jr.

So you think men stars
always look the same?
Franchot Tone and Mr.
Gary Cooper decided to
change your minds. And
you'd hardly know 'em!
They are all wrapped up
for their roles in "Lives
of a Bengal Lancer," for
Paramount. Aren't they
handsome sheiks?

Happy family. And,
happy birthday. It was
Mrs. Brown's birthday so
Joe E. and Joe E. Junior
gave her a big party at the
Cocoanut Grove. Cake
and all! No wonder Joe
knows how to make
movies that are fit for the
whole family. The grown-
ups like him, too

Photoplay Magazine for February, 1935

WOMEN LIKE 'EM THAT WAY

It seems to me women of the screen change
cir looks and their personalities with their

But the men, always look the same.
Cooper is always Gary, Franchot always
me, Herbert is Marshall in every role he
.iys_etc. Is it because the women stars are
perior as artists? P.S. I'm not a woman.
J. P. Hertz, Chicago, 111.

BRITISH GENIUS

Does Hollywood appreciate the genius of
iberl Donat? He has an individuality, a
arm and culture not found in most of our
tors. I shall never forget his acting in "The
hunt of Monte Cristo." The courtroom scene
is especially superb.

NrNA White, Louisville, Ky.

MOTHERS' HELPERS

A mother of four children has so many, many
ings to take up her time, it is really almost
possible to check up on the movies day by
Jy. And yet I know that mother should be the
ihsor. I'm always grateful when Bobby or
rlen, dashing in to see if they can go to a
{)vie, say, "It's Joe E. Brown." Or "It's Will
Jigers." Then I can send them packing off
4h no time-taking investigation, no worries,
cause I know it's a clean picture and one
i v will enjoy.

Mrs. E. T. Wright, Brooklyn, N. V.

MOVIE HUNGER

Someone said that in order to appreciate a
tng, you must do without it for a while.
Since joining the CCC, I have discovered
is is true. Our particular Camp happens to
1; situated twenty-five miles from the nearest
r>vie house, and it is not often that we see a
pture. When we do, however, we appreciate
i'thoroughly.

Now I know what a void there would be in
ci- lives without them.

Lee De Blanc, Creston, La.

PAPA KNOWS BEST

\s an economy, when times got bad, my
(rents limited us children to four movies a
yir. Can you imagine a set of movie fans
1 ng permitted just one picture in every three
rnths?

ifhat, however, was all B. C. (Before Cats-
I a.) I chose the Lloyd film for my once-in-
tee-months picture. I was so enthusiastic
ajut it that my parents decided to throw dis-
ction to the winds, and take the whole
) lily.

Vhen the picture was over my father said,
"hat movie took ten years off my life! From
I? on our budget must include plenty of
imes. For there can be no depression when
aaod show is in town."

R. R., Cottage Grove, Oregon

MUSICAL ALBUM

'.ach musical picture I see leaves me with
wish to see and hear again certain of the
g and dance numbers. Why don't each of
studios make a picture composed of the
ice song numbers in their past musical
ures? What movie fan wouldn't enjoy
ring, again, John Boles sing " Waitin' at the
e for Katy" in "Bottoms Up." Or who
ldn't like to see again the Carioca scene
n "Flying Down to Rio?"
Mrs. Clyde Shaffer, Santa Rosa, Cal.

*AT4I

ff ON MY SKIN

writes Mrs. C. M. A. of N. H.

YOU LOOK
BEAUTIFUL.
CATHERINE

" 'Catherine, 'one of the young men said to me, 'what keeps your skin so young and beautiful?' "

"I had used one special cream for over 14 years. A nd yet when / first started with Junis Cream
the tissues I used looked terribly soiled. My skin certainly needed the cleansing effect of Junis. "

WHAT

LOVELY

SKIN/

"I am forty-one years of age, and after using Junis for only a few weeks, I got compliments on my
young-looking face from women around twenty. I know that Junis is going to keep my skin that way. ' '

WOMEN who have used this new face
cream are reporting remarkable re-
sults. Some say their complexions are
smoother, fresher than ever before. Women
over 30, especially, report a new glowing,
healthy skin they had never hoped to see
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This enthusiasm is not surprising, for the
new Junis Cream is entirely unlike all other
creams . . . because it is based on a principle
that is natural and at the same time scientific.

A cleansing cream with Nature's
own softening element

For years, you see, scientists have been try-
ing to solve the problem of why skin be-
comes older-looking. They have uncovered
many surprising facts. One important rev-
elation is that all young skin is rich in a
certain natural substance . . . that helps to
give smoothnessand freshness. As skin grows

older, this precious substance decreases.

But now, for the first time, a way has been
found to put this rare substance into a
cleansing cream . . . into Junis Cream . . .
thus enabling women to apply to skin the
freshening, softening element so vitally
needed. This substance, as contained in
Junis Cream, we call Sebisol. When applied
externally, this natural substance again
softens and lubricates the skin.

We invite you to use Junis Cream regu-
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watch results. You need no other. For Junis
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it contains Sebisol ... to
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See what this new kind of
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skin. Junis Cream is on
sale at all toilet goods
counters.

JUNIS CREAM IS A PEPSODENT PRODUCT

Photoplay Magazine lor February, 1935

The Arabian Nights

BEAITIFUL D E LUXE EDITION

For Lovers of the
Rare and Exotie

Original

Lane Translation

1260 Pages

PHICED AT OXLY

$2.98

w»

Sb.ibr.izad. the beautiful si. ire and her master, King Shahriyar.

HAT lover of rare, beautiful and exotic books has not longed to own
The Arabian Nights as translated from the Arabic by Edward William Lane?

Who, having read them, can ever forget
these astonishing stories of lion-hearted

heroes and their madly loved ladies? Of
silken-clad beauties who turn from the
murmuring of amorous verses to the devis-
ing of diabolical tortures for erring lovers!
Where but in the Orient could love blos-
som so tenderly or distil so maddening a
perfume? Only the passion and imagina
non of the Oriental could conjure up these
stories of love and hate, poison and steel,
intrigue, treachery and black magic.

For many years after Edward William
Lane completed his famous translation
from the original Arabic that placed the
Arabian Nights among the great literary
achievements of all time, it was published
as an elaborate set of volumes, priced at
S60.00 and upward. Thousands of institu-
tions, collectors and individuals of afflu-
ence purchased it, but at that price it was
out of the reach of uncounted thousands

who had heard of its magnificence and
u ho wished ardently to read it. It was not,
however, until comparatively recently that
an enterprising publisher succeeded in se-
curing the necessary rights to enable him
to publish the entire contents of the origi-
nal set in one great, magnificent volume —
and what a volume it is! How widely.
wonderfully, gloriously different from the
simple children's volume which so long
passed current as The Arabian Nights.

It is printed on fine quality paper in
beautifully clear type, luxuriously cloth
bound in black and red and gold — 124
Oriental tales, 1260 pages, rich in the lure
and thrill, fire and passion of the mysteri-
ous East. Complete, with a wealth of
translator's notes on Oriental life, customs,
magic and other alluring subjects, the
Economy Educational League has been ex-
tremely fortunate in securing a limited
number of copies upon a basis which per-

mits us to offer it to our customers at the amaz
ingly low price of $2.98, postpaid — a credit to an)
collection of beautiful and exotic books. Ordei
today before the supply is exhausted. You risl
nothing for if this great volume, which weigh:
over three pounds, fails to come fully up to youi
expectations, you can return it for immediate re
fund of your money.

Send coupon today with $2.98. Money back i
not satisfactory. When ordering request catalog
of other exceptional book bargains.

E C O A O H Y

EDUCATIONAL LEAGUE

1020 Broadway. »w York. >T. Y.

ECONOMY EDUCATIONAL LEAGUE
1926 Broadway, New York, N. Y. Dept. P2
I enclose &2.98 for which please send me the
original Lane translation of THE ARABIAN
NIGHTS beautifully cloth bound. I under-
stand that my money will be refunded, provided
the book does not prove satisfactory.

Name

Address

City State

IN each of her movie roles Katharine Hepburn has portrayed
a different type of person — from sophisticated lady to the
lovable Jo. Now as Babbie in "The Little Minister," she

reveals a quiet dignity and grace which lends her latest role a
new kind of Hepburn charm. John Beal plays opposite her in
the screen version of Sir James Barrie's famous love story

Eugene Robert Richee

ALWAYS fascinating, Carole Lombard has never looked
more intriguing in a portrait than in this one. But you
can practice for months before a mirror, ladies, and never

achieve that comchither look of Lombard's! For it's the
contrast of languid eyes and radiant blonde beauty that does
it. Carole's latest picture is "Rhumba" for Paramount

Clarence Sinclair Bull

ARBARA KENT'S ambition to become a movie star was
-'-'suddenly interrupted three years ago when she married
her press agent, Harry Edington, and decided her home was

more important than a career. Now, after three years of
smooth sailing on the matrimonial seas, Barbara believes she
can manage both. She recently signed an M'G-M contract

TX 7HAT the well-dressed lady will wear — model by Miss

» » Temple, borrowed from her mother's wardrobe.

Shirley was eager to show folks the newest addition to the

family, too. The child, she says, will in no way interfere with
her career. And her career is doing nicely, thank you. She
crashed to stardom in her latest film success, "Bright Eyes"

By
Kathryn Dougherty

I OFTEN wonder at the patience of the motion picture industry. Here
are hundreds of millions of dollars invested, thousands of persons employed,
half the population of the nation entertained — and yet any player, any film,
is at the mercy of anyone who can get his words into print.

There are many professional critics whose judgment is sound and whose verdicts
are just. But there are also a number of others who write best when they are
panning someone or something, and who, thereby, wise-crack their way to a
certain kind of fame. Such critics are dangerous. They may amuse but they
don't help the public in choosing pictures, and they damage the industry. And
when they do that they strike at the public's greatest recreation. It is bad all
around.

LET'S see how this kind of criticism would operate with a merchandise type
of business — a style show, for instance. The morning after the opening, the
promoters might read in their (erstwhile) favorite newspaper:

"La Petite Paree style show opened last night with the customary music, the
customary lights and the customary mannequins wearing not unusual gowns —
one of those things the public is a little fed up on.

"The models were none too graceful and the tripping down the stairs was startlingly
realistic. But the two girls who fell quickly regained their feet.

"Strangely enough, the audience of fashionably gowned women seemed to like
the show. But my recommendation is: stay home with the radio."

WOW! How would the gentleman putting on the style show like that?
And wouldn't there be an uproar? The parallel of this to some of the
criticisms of films needs no elaboration.

If Bates, the popular grocer, found himself living in a movie player's gold-
fish bowl — with the top off, at that — he'd be walking out of court some day a free
man, acquitted by a jury with the verdict "Justifiable homicide."

HOLLYWOOD New Deal note: Posted about on the walls of the Central
Casting Bureau is a recent bulletin advising the telephone operators no
longer to say "No work" to job-seeking extras.

Instead, commands the decree, the hello-girls should reply, "Try later."

IN a town of strange happenings, one of the strangest took place recently when
hundreds of men in evening clothes walked across a bare stage, removed their
coats, gloves and hats, bowed and smiled and then passed on.

3%w 3*k 3^ 3Si. !Ssi. 3s* 3** 3^ 3*s* 35*. 3*%* 3s* 3s* 3»» -5s*. 3** 3s» 3s* 3s» 3s* 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3^ 3s* 3^ 3*.

There was a reason for the strange parade. Members of the Central Casting
office sat hack in the darkened theater and judged the men who passed. Those
who were nattily attired, sure and easy in their manner, were classified as ten and
fifteen dollar extras. The others were demoted to the five dollar ranks.

AND what a parade of heartbreaks it proved to be! Men, whose dress suits
were green with age, faltered on, their white faces twitching with nervousness,
their hands trembling, telling over and over the tragic story that lies forever seeth-
ing beneath the pomp and glitter of Hollywood.

One elderly gentleman in his frayed evening clothes, entered nervously, dropped
his gloves and stooping to retrieve them, stumbled to his knees. Carefully avert-
ing his face to hide the tears of shame, he slowly walked from the stage.

"That man will never make the grade," one woman judge remarked. "He
evidently knows nothing about etiquette and has probably never been anywhere."

"My dear," said her neighbor, "that is only a former Russian nobleman. And
he has dined with kings."

The parade continued.

THOSE newly weds Margaret Sullavan and William Wyler were house hunting,
and hearing of a place that sounded suitable, they sent their chauffeur out to
investigate, they being unable to leave the studio.

In a little while the chauffeur was back.

"Well, what was it like?" Margaret asked him.

"Oh, just like a house," was the reply.

"What was in it?" she asked next.

"Oh, just rooms."

"What were the walls like?"

"Well, they were neither dark nor light," he replied, "they were just blase, I
guess."

The Wylers didn't take the house.

IF we could see enough newsreels, we would scarcely need a newspaper. The
development in this field is as amazing as that in journalism. The reporting of
the burning of "Morro Castle" and the assassination of King Alexander of Yugo-
slavia are arresting examples of news enterprise.

It would be almost impossible to imagine anything more gripping than this raw
drama captured by the eye of the camera. The mimicry of the screen loses sig-
nificance, for the moment at least, compared with such stark realism.

IT happened at a motion picture theater in Albuquerque, New Mexico. Two
women were talking about the stars of Hollywood. "I think they're terribly
over-rated," one woman remarked to another. "There are just as many dis-
tinguished looking girls right here in this town. Glance at that girl next to you,
for instance. Isn't she just as striking as Hepburn?"

But — it was Hepburn! On her way East she had stopped off the plane at
Albuquerque to catch "The Chief," and had taken in a movie while she waited.
There's only one Hepburn after all, be it Hollywood or be it New Mexico.

YOU who love Old Hollywood will get a kick out of Scoop Conlon's reminiscences
of the days when the cinema was young, and its first players trooped down Wil-
shire Boulevard in the grand parade that marched straight to fame. Turn to
"Hollywood, My Hollywood," in this issue. It's a treat.

3^^^3^3^3^3S3S3^^3^3i3^3^3^3^3^3^3S3^3t3S3^3^3S3^3^3S3^3^3^3£3^3^3^3^3S^^3S^%

Photoplay Magazine for February, 1935

Gary Cooper, righting Man

of all Nations!

by James A. Daniels

He has worn the uniforms of a half-dozen nations and twice that many

branches of the various services. He has carried every known form of war

weapon from a six-gun to a cavalry lance. He has soldiered in the Sahara,

the trenches of France, the mountains of Italy and on the battlefields of our

own Civil War. He has fought hand-to-hand, in the air and astride a horse.

That's the unique record of filmdom's best-beloved portrayer of warlike roles
— Gary Cooper. Too young to see actual service in the World War, the tall
Montana lad nevertheless has earned the screen title of "The Fighting Man of
All Naiions."

He"enlisted"first as an aviator in that never-to-be-forgo ten .picture, "Wings."
Then came brief periods of service in the French Foreign Legion in "Beau
Sabreur "and again in"Morocco." Who can forget him as the American
ambulance driver on the Italian front in "A Farewell to Arms' '? Then
there were the roles of the British Tommy in "Seven Days Leave,"
the U. S. Marine in"If I Had a Million"and the American dough-
boy in "The Shopworn Angel. ' ' More recently he turned time back
to don the uniform of an officer of the Confederacy in the Civil War.

Nor is Gary through with uniforms. He has just finished the stellar

role in Paramount's "The Lives of a Bengal Lancer " and both

Gary and the studio believe it is the most colorful characieriza-

tion of them all. As the heroic young captain in this picked

British regiment stationed on the northern boundary of India,

Gary alternates between he English Armyservice uniforms and

the picturesque Indian dress uniforms worn in honor of the

native allies of the British.

But more important than the uniforms he wears is the part he
plays. It's the tensely dramatic role of a British officer who
goes gayly into danger in order that the honor of the regi-
ment, the Bengal Lancers, may remain unsullied and that a
soldier-father may never know that his son betrayed the regi-
ment. Critics who have seen the picture agree that it marks a new high
for Cooper and that the picture promises to be to talking pictures
what "Beau Geste" was to the silent screen.

Surrounding Cooper in this colorful setting are such excellent actors

as Sir Guy Standing, himself an officer in the British Navy in the

World War, Richard Cromwell, Franchot Tone, C. Aubrey Smith,

Monte Blue and Kathleen Burke. Henry Hathaway directed "The

Lives of a Bengal Lancer," a picture which has taken three

make, and which was partially

filmed in India.

[Advertisement]

By Scoop Con Ion

ILLUSTRATED BY FRANK GODWIN

Scoop Conlon anil
William Frawley

My Hollywood

IP" only we could have rubbed Aladdin's lamp twenty-odd
years ago!
There we were luxuriously sprawled beneath the shade of
a palm tree on the soft grass of a Hollywood boarding-
house lawn. . We had parked our tired dogs after our daily hike
over the tortuous Cahuenga Pass to and from a quaint little
joint they called a movie
studio, a trail worn through
the mountains by two centu-
ries of weary journeys made by
gentle old Spanish padres and
their Indian neophytes.

We were neophytes in this new
game they called the movies.
An Irish song and dance man
from Iowa and an Irish writer
from Missouri trying to crash
the studios. Carefree birds of
passage, we had no serious
thought of movie careers.

SCOOP CONLON

By William Frawley

If Scoop Conlon wasn't the tirsl, while baby born in Southern
California, he must have crossed I he plains in a covered wagon. He is
more native than a native son.

Running around with him in Hollywood is like attending an Old
Settlers' picnic. He knew everybody when.

Scoop is a half-pint in size only.

He is Irish in everything, including his pan. Rollicking sense of
humor. Cocky but good natured. Gay but sentimental. Sociable
little guy.

He has been married to a swell little girl for seventeen years, which
is a record in Hollywood, and Hollywood marvels that she has put up
with him that long. They have one daughter, fifteen.

The Conlons live at Toluca Lake, as close to the first lee as possible.

Three squares a day and a soft bed was the main idea.
Bill Frawley dreamed of Broadway musical comedy, while I

toyed with mirages of the South Seas. How could we know?

We didn't have Aladdin's lamp. Besides, motion pictures

were "still" in their infancy!

Hollywood siesta-ed in the sun. The air was laden with the

sweet scent of orange blossoms.
Ranches dotted the boulevard
of yesterday. Majestic euca-
lyptus, palms and peppers
shaded the streets. Flowers
ran riot everywhere. Roses,
poppies and hibiscus graced the
lawns, wistaria, bougainvillaea
andt honeysuckle colored the
bungalows. The climate was
balmy.

Here and there an occasional
two-story village business
building defaced the pastoral

In the good old days, when Hollywood siesta-ed in the sun, and everybody stood on the corner of Hollywood Boulevard and Vine

Street to watch the movie parade go by. Those were the days when you saw Charlie Chaplin with his cane and baggy trousers,

when Mary Pickford dressed in gingham and had her curls, and Bill Hart wore a ten gallon hat

landscape. But, even these village necessities possessed a
:ertain quaint charm and tradition.

How well we recall Hall's grocery store where the genial,
trustful proprietor cashed our movie checks Here we loafed
swapped lies and did a little
whittling with the boys. Or,
"Frenchy" Blondeau's barber
;hop where we hung out to get
in occasional haircut and read
R free Police Gazette. Or, the
..harming old Hollywood hotel
vhere we dined and danced
vith our best girl of a Saturday
light, if we had the price.

If only we could have rubbed
Uaddin's lamp.
! Once again Bill Frawley and

stroll together down Holly-

WILLIAM FRAWLEY

By Scoop Con Ion

Bill Frawley has a pasl which he lias been trying Lo live down lor
years. lie was Hollywood's first crooner

Like all good Ioway-ans. when he left the old homestead, he headed
straight, for Californi-ay, driving a buggy

Bill had a vague idea he was an actor, hut the movies, "still" in their
infancy, decided he was a song and dance man.

Being Irish as the shamrock, Bill's sentimental nature lenl a devastat-
ing charm to his crooning of sad ballads to the cabaret devotees.
Broadway heard about it. adopted him. lie knows everybody in show
business and the sporting world. Talks with Broadway accent.

Came the talkies, or the dawn or something. Lo and behold,
Hollywood "re-discovered" Bill Frawley. He came back as an actor

He's unmarried, girls. Husky, hot-tempered, but sweet-natured.

wood's main stem. My old pal is back from the Broadway
wars, a successful actor giving Hollywood his first double-take
in many, many moons
The sun still shines, the climate is still balmy. But the trees,

the flowers and the orange
ranches are gone these many
years. With them went the
beauty, the charm and the spell-
of the Southern California vil-
lage street. The song is done.
Today, if you stand on the
corners of Hollywood Boule-
vard and Vine Street long
enough you will meet every body
you ever knew. Sure, just like
Forty-Second and Broadway
of New York.

[ PLEASE TURN TO PAGE 106 I

Who Is Your Husband'.

Favorite Actress?

And What Are You Going To Do About It?

Many a quiet, stay-at-home man goes
crazy over Harlow. If your husband
comes out of the theater raving about
Jean's radiant loveliness and bare
shoulders, you should do something
about it. And you had better not
waste much time

Does the man you love walk a mile
to see Gaynor on the screen? If he
does, look into your own past and
present, and govern your future ac-
cordingly. There's a reason for his
preference, and it's very important
to you

By Ruth Rankin

DOES your husband go out of the theater doing a rave
about Mae West or Greta Garbo or Janet Gaynor?
Does he keep it up all the way home? And does it
quietly burn you to a handsome brown crisp or
show up the electrical sparks like a blown-out fuse?

Come on now, girls. Don't deny it. I know better. If you
don't get mad, either inwardly or visibly, you simply are not
human. And if you weren't human, you wouldn't have a man,
or go to a movie. Case dismissed.

The less you resemble the actress who rates the rave, the
madder the whole business makes you. If you are a little bit
like her, it's apt to be quite nattering. I know a man who can
snap his wife out of her worst peeve by saying, "Take off
those whiskers, Joan Crawford, I know you!''

The sages tell us it is fatal to analyze too closely those who
have our devotion. So don't put your husband on the pan.
Analyze yourself and the woman on the screen who has his
admiration. Remember, you can change practically every-
thing else in this life, but you can't change a man.

Why not regard your man's enchantment at the hands of
his favorite picture-girl as a break for you?

It is certainly a perfect indication of his choice, a barometer
of his likes and dislikes. Instead of being incensed about it,
why not be guided by it?

For instance, there is a certain brawny gentleman (you all

Maybe you are one of those wholesome-as-bread-and-butter
women, and your husband does emotional cartwheels at the men-
tion of the glamorous, languorous-eyed Garbo. However, don't
be incensed by his raves over Greta. Be guided by them

;now one just like him) who has a yen for Janet Gaynor, which
eaves his wife fit to be tied.

It has not yet dawned on Mrs. S that

ive years ago, when she married Bill S

>he was a cuddly little thing who made
aim feel big and strong and wonder-
ul. Bill had some kind of an idea
hat he was going to be head of
lis own house — but five years
lave changed all that. Mrs.
5 has developed a re-
grettable air of positiveness,
ind is about as helpless as an
irmored tank.

Some day she will get around
o the realization that papa is
:razy about Janet because
Janet reminds him of the days

Ai surprising number of men
suffer with Colbert trouble. If
Vour husband has been smitten
by Claudette, don't take it as a
Joke. The poor man may crave
bangs

when he had the situation in hand and
was permitted to be protective. Then
she will know that his enchantment is
in reality an indirect compliment to her.

This one happens to be a case-history
with an obvious solution. There are
many which offer more of a problem —
in fact, there are several which seem
beyond hope at the first diagnosis.

A perfectly charming merchant, who
seems quite well-balanced in every other
respect — has gone ga-ga, non compos
mentis, in plain American — mils — about
Greta Garbo. He admits it without a
blush, the rogue. He will drive to
Pasadena in a pouring rain to see a
Garbo picture for the third time.

To make the situation practically
hopeless, his wife is a bouncing athletic
girl with all the glamour of a bowl of
wholesome baked beans.

She pretends to be amused about it,
but it annoys her. If she had eyelashes
as long as Garbo's, she would trip over
them, and her eyes snap and sparkle in
place of her rival's troubled languor.
But all is not lost. She has two natural
assets which would safely eliminate the
accusation of imitating Garbo, and she
could use them to advantage . . .

One is a long free stride and the other
is a gorgeous [ please turn to page 111]

The tiny but completely furnished playhouse is a favorite spot
for the kindergarten youngsters. The little girl with the doll, in
the doorway, is Mary MacArthur, child of Helen Hayes and
Charles MacArthur. Next to her, seated in the chair, is Mary
Elizabeth, daughter of Joe E. Brown

School

That

Never

Has A

Truant

A class of younger pupils, playing while they learn. They
may choose to do whatever they wish — modeling in clay,
building with the blocks, working out puzzles. The
sturdy young chap standing with the ball in his hand is
Dick Thomson, son of Frances Marion, writer

MIDWAY between the film factories of Culver City
and Hollywood is the Carl Curtis School for Boys
and Girls. Here children of the stars receive their
educations.
You've probably supposed that the favored sons and daugh-
ters of the movie great attend no ordinary school. And you're
right! For Curtis is the kind of school little boys and girls
dream of — where swimming and boxing are part of the curric-
ulum, and outdoor games are as important a subject as
arithmetic.

The kindergarteners go home. Each child is taken
by the principal, Mr. Broadbent, to the school bus,
where Miss Alice Calhoun, instructor, sees them to
their doors. The kidnapping menace has made
such precaution doubly important

Fortunate children,
these youngsters of
the stars! For Holly-
wood has that kind of
school that every
little girl and boy
has dreamed about

By Julie Lang Hunt

It all began ten years ago when Cecil B-.

eMille, Jack Holt, Will Rogers, Noah Beery
id other film celebrities learned that the late
arl Curtis, well-known physical culture special
|t, and J. Howard Broadbent, an all-around
^ademic man, had devised a system whereby
pysical and mental development were given
]ual importance in child education.
| A more narrow, conventionalized community

ight have been afraid to start a school on such
radical idea. But it sounded like sense to Holly-
wood. So stars, directors, producers, brought
jeir children to the two educators, and school
i-3gan.

Before the end of the first year, every parent
I Hollywood was excited about what was hap-
ping to the youngsters at Curtis.
; Even the kindergarten babies had learned to
'vim. And all the grade children could speak
jrench. Serious physical defects had been cor-
seted by gymnastics. Timid children had

come social ring-leaders. Sullen ones had

The classrooms are planned for health and maximum comfort.
Notice the adjustable desks and seats, movable so the child can
move closer to the board or light if he needs. The blonde,
bobbed haired youngster in the corner is Ruth, the daughter of
Conrad Nagel

l'lV

Each youngster is given a carefully planned and
well-balanced dinner at noon. Parents are re-
quested to serve them only light suppers at night.
The young man being served by the school dietitian
is Richard Hoffman, son of Janet Beecher

The sunny California weather and the school's policies of
health and freedom make it feasible to hold most of the
classes out of doors. Here is the eighth grade, having
history lesson in a sunny patio, beneath a big sunshade.
And how hard they're studying!

acquired happy, normal dispositions. And the increase in each
child's weight, general health and mental alertness brought the
star-mothers and fathers in swarms to the doors of the Curtis
School.

Almost immediately applications from private families as
well as Hollywood's inner circles swamped the institution. It
was necessary to place a limit on the student body, so it was
set, and still is set, at eighty.

But the sturdy approval with which Hollywood looks up to
the Curtis School is no mere fetish. I think the attitude of the

Acrobatics are an important part of the curriculum at the Curtis

School. Two of the girls demonstrate their skill in this sport.

The girl on the right is Marcelite Boles, daughter of John Boles

and an accomplished athlete

mendously. He can prove this with records which
show that eighty per cent of the students
transferred from Curtis to the public
grammar or high schools are advanced
from one to three grades in all branches
f academic work.
Let us follow a hypothetical
student, first, through the amaz-
ing pyramid of details attend
ant upon his entrance into
the Curtis School, and then
on through his courses. His
mother, let us say, is
( lloria Glorious, a famous
Mar, and her five-year-
old Jimmy is the sugar-
ed apple of her eye,
even more sugared
than her studio con-
tract.

Miss Glorious calls
upon Mr. Broadbent
with Jimmy in tow,
and is slightly piqued
by the absence of flurry
and scurry when she an-
nounces her desire to
place her child in the
kindergarten class.
If the school is not over
the eighty mark, she is sup-
plied with a medical blank,
told to have it filled out com-
pletely by the family physician
and return with Jimmy for his men-
tal and psychology test within two
days.
If Gloria can recover from such casual
treatment, and she usually does, she returns
promptly with Jimmy who is turned over to Dr. J.
Harold Williams of the University of California at Los
Angeles, for a thorough mental analysis.

Then the star and her Jimmy go home and wait until
a notice from the school informs her whether the child
is eligible. If his medical account shows up too badly.

film parents is summed up in a state-
ment Clive Brook made to me a year
ago when both his daughter Faith and
his son Clive were attending Curtis.

"The youngsters are getting the best
in scholastic training there," he said,
"but that is available at many other
schools, too. The feature of this school
that appeals to me is the physical skill
it produces even in a child as small as
Faith. She will never have a chance to
be bored much with life when she's
older. Not only her mind will be
trained, but her body as well. And
when a boy or a girl can swim, ride,
skate, play tennis and golf expertly,
there isn't going to be much loneliness
or restlessness ahead for them."

And Clive Brook is right.

When the body is trained as skilfully
as the brain, life is bound to be a nicely
balanced, absorbing affair.

And it is the convincing theory of J.
Howard Broadbent and his staff of a
dozen instructors, a theory based on the
findings of a decade, that physical prow-
ess speeds up mental development tre-

Naturally these Hollywood youngsters are interested in dramatics! The

girl on the extreme right is Sheila McLaglen, the daughter of Victor.

Curtis pupils learn to appreciate and understand the works of great

dramatists by acting out scenes from their plays

(he mental tests reveal too great an emotiona

stability, Jimmy hasn't a chance.

But if Dr. Williams' findings reveal that
Immy is only a spoiled, over-indulged
impered little boy, who can be re-
iaped into a tine citizen, he be
jmes a Curtis charge.

His first day at school is spent
1 the examination room of the

ad of the physical culture
Apartment. William Mc-
jlasters. Jimmy is photo-

aphed in silhouette to
;io\v defects in posture,
jiotprints are taken, his
md grip tested, his
toulder strength tried
it, his legs measured,
ie tilt of his head
;>ted, his heart, his

ngs, his muscle tone,
s nutrition, his skin,
j. fact there isn't a
10k or cranny of Jim-
y that isn't charted
,id indexed by his ex-
niners.

! By the end of the day,
IcMasters and his three
.illed assistants have map-
fed out Jimmy's physical
;ork for the forthcoming year.
is stooped shoulders are to re-
live certain stretching exercises
s flabby muscles will require slow
jvelopment, his fear of physical pain

underscored for careful consideration
1 swimming classes and acrobatic work.
; The next day, Jimmy joins the kindergarten,
hich, because of California's almost flawless
imate, is conducted outdoors almost every day in the
par. Among his classmates he discovers chubby, blind
eter Bennett, Constance Bennett's son, and his young
>usin, Diana, daughter of Joan Bennett. The little
Iris at the end of the play table are Mary MacArthur,

Physical training is given equal importance with mental gym-
nastics. And soccer, for both boys and girls, begins in the
fourth grade. This game starts with Richard Hoffman kicking
the ball

ptfp*

These youngsters learn ballroom dancing before they are "grown up"

enough to feel self-conscious about trying a tango with the best beau or the

girl friend ! The tall young lady with the boyish bob, on the extreme left,

is Jane Rich, daughter of Irene Rich

daughter of Helen Hayes and Charles
MacArthur, and Mary Elizabeth Brown,
the wide-grinning Joe E.'s youngster.

Later he makes the acquaintance of
John Brooks Morris (Chester Morris)
and William David Powell (William
Powell), a pair of robust youngsters.

Jimmy's teacher has a detailed ac-
count of his psychological and physical
tests in the top drawer of her desk and
she knows already that he is over-sensi-
tive, unsocial, inclined to be destructive
anddomineeringand abundantly curious.

But a series of scientifically arranged
games soon build up Jimmy's self-con-
trol and stimulate the sprouting of his
first pinfeathers of good sportsmanship.
His demolishing little hands are kept so
busy with crayons, clay, tools and
scissors, he forgets his original plans to
scratch the colored pages out of the
picture books.

He learns, painlessly, to take a nap
from eleven to eleven-thirty every morn-
ing, although his mother and all his
nurses never had any luck along this line
at home. [ please turn to page 118 |

Mary Pickford's

Search for Happiness

FIRST saw Mary
Pickford in " The War-
rens of Virginia." She
played the part of an
angelic golden-haired little
girl and to me — just a child,
myself — she seemed as
radiant as the princess in
the fairy tale! If anyone
had told me that she wasn't
completely happy I would
have burst into tears — tears
of disillusionment.

That was the only behind-footlights-role in which I ever saw
Mary Pickford, but through the years I have watched her upon
many a motion picture screen. I have followed her film career
with breathless interest; I have seen her achieve recognition
and near greatness and — at last — actual greatness. I have
applauded silently as she became a world figure — and this is
not my first written tribute to her, not by any means! And
yet — although I have applauded her both silently and with
my pen — the conviction that she was the always gay,. invariably
light-hearted princess of romance left me long since.

"\ y4"ARY PICKFORD, in common with every other normal,
■'■^-'-wholesome woman, has had her plethora of problems and
tragedies — her moments of pain and heartbreak. When I finally
met her I knew that my diagnosis had been correct, for under-
lying her charm was a sense of wistf ulness, and her eyes — at times
— were shadowed with longing. As I have come to know her
better and better I have
often felt that she was
searching through the high-
ways and byways of life for
some intangible thing. Her
search has carried her across
desert places and beyond
the seven seas. She has
gone exploring — really ex-
ploring— in the hope of find-
ing for herself the loveliness
of existence that she has
given to so many people.

Finding the loveliness of
existence! It hasn't been
as easy for Man' Pickford
as the casual observer would
suppose. Life hasn't always
been a bed of roses for her
— no, indeed! She has told
me that, as a youngster, she
knew actual poverty, and
poverty is an experience
that lingers in the mind no
matter how much — and
how often — success comes
your way. Of course, she

This noted star tells you that
striving toward an elusive goal
has been something far removed
from the veneer ealled success

By Margaret E. Sangster

iderful

Before the microphone, Mary must feel her search for

happiness has nearly ended. By closing her eyes, she

can visualize thousands who care for her

had the most won
mother in the world — you'
should see her face when
she speaks about her
mother! Mrs. Pickford;
could by the magic of her
personality make even cold
and hunger seem part of ari'
amusing game. It was she
— I am sure — who started
Mary on her search for
happiness; it was she who
gave her daughter the
courage to seek — beyond the minor discomforts of the moment
— for truth. Mrs. Pickford's code was to square the shoulders
and to keep the chin up to pack one's troubles into the
proverbial kit bag and "smile, smile, smile . . ."

Mary Pickford learned from her mother that gallantry is a
gracious garment which the soul wears — that if one dresses
one's soul in a brave garment a ragged frock doesn't count
against one.

During the long years that have led her from obscurity toj
fame, Mary Pickford has had to tell herself, often, that gal-
lantry of the soul was more important than the surface sparkle
that is known as glamour. She's been surrounded with glamour
— saturated with it — for a couple of decades, but it hasn't;
meant very much when measured against the real thing. Heri
striving toward an elusive goal has been something far re-
moved from that veneer which the world calls success. There
are times when I have thought that the applause of the crowd:

must have had an empty
sound to her ears. For — in
her personal life — Mary
Pickford has known her
times of defeat. She has
struggled against fate — and!
has not always triumphed.
Take her first marriage,
with Owen Moore. Man
entered into that marriage,
with high hopes and brave'
ideals, but it didn't jell |
Her second marriage —
which was thought by the
general public to be the per-
fect thing — has come to a
saddened cross-road. The j
two people she most adored ;
— her mother and her
brother, Jack — were taken
from her prematurely. Even
now her eyes fill with swift j
tears when Jack's name is
mentioned, and — as I've
said before — you should see
her face when she speaks of
her mother! Although she

"An angelic,

golden-haired little girl," Miss Sangster described Mary when first she saw her, and believed her

then — completely happy

,'ves every youngster in the world, she has no children of her
,\vn — her maternal affection is lavished upon her niece, Gwynne
,-her sister Lottie's daughter.
And then, too, the prestige which she has gained and the
ealth that she has accumulated have not brought ease
|Iary Pickford works harder than anybody I know. Some
mes I think she is goaded into the terrific amount of work by
lis search of hers — this search for happiness. Sometimes I
link, that she expects to find, in artistic and spiritual en-
eavor, the fulfillment that she has not found in her personal
Nations.

Trouble, to Mary Pickford, is something that must be worked
with and transformed. The following incident — which I trust
[ will quote correctly — illustrates my point in this. Her com-
pany', it seems, was making a picture and the picture needed —
to lend tragi-comedy to a certain sequence — a decrepit, for-
lorn horse. There was a long and involved search before a nag
pitiful enough to fill the bill was located. When the right
animal was finally found the entire studio must have declared
a holiday!

I don't suppose that ever — before or since — there was seen
such a lean and hungry horse. I [ please turn to page 119 ]

And So the Great

Max Reinhardt fully believes Shakespeare
should be on the screen, and he's going to
put him there, for Warners. His first will be
"A Midsummer Night's Dream," and here
he is signing his contract for the merry Bard-
of-Avon Comedy

( ROSS the desk in his office at Warner
Brothers, he looks, in his plain brown business
suit, modest tie and equally modest linen, more
like a successful merchant or a banker than what he
world's preeminent theatrical maestro — Max Rein-

is — the
hardt.

Also, this smallish man with the quiet eyes and hair looks
like a man of forty instead of the sixty that he is And there
is an enthusiasm that rings through his voice which sounds
like twenty rather than forty.

To Hollywood, Reinhardt is the man of promise.

To Reinhardt, Hollywood is the Land of Promise.

"Hollywood," he said, "is a natural garden for genius.
Here is beauty all around — color and movement — nature at
its richest. Nowhere else in the world is there such an artist's
paradise. Nowhere is there such an easy, delightful place in
which to live and work. And Hollywood is a community en-
tirely populated by artists striving to express themselves.
Here is a town where art and expression are the most im-
portant thing. And it is attracting — with many here now—
the artists of the world."

Coming from anyone else, it might well sound over-en-
thusiastic, but not from Max Reinhardt. He can rightly say
what's what. He is the man who is making Shakespeare
tasty and appealing to the masses. He is bringing the Bard-
of-Avon onto the screen. That is something no man has ever
dared think possible before. But he knows his stuff. And
Hollywood knows he does and takes his opinion.

A few years ago Reinhardt brought "The Miracle" to
America and this nation hailed him as the master of spec-
tacles. But he's much more than that. Thirty years ago he
modernized and humanized the theater. For three decades
he has been the master producer and teacher of Europe.

For fifteen of those thirty years he has resisted Hollywood's
lure, being discernible on the screen only through his pupils — all
of whom have done him proud. He has considered the screen
not ready for him and himself not ready for the screen.

But now in Max Reinhardt lies Hollywood's newest hope
and greatest inspiration

Reinhardt's dramatic school in Berlin was the alma mater

of practically every important actor on the Continent.

In fact, it was the proudest boast an actor could make,

"I've studied with Reinhardt." Lil Dagover was one

Master Arrives

By Kirtley
Baskette

Max Reinhardt, stage
genius, is the man of
promise to Hollywood.
To him, Hollywood is
the Land of Promise

Now because of "not just talking pictures,
.it talking pictures with Shakespeare" Max
einhardt has come to Hollywood. He has
jirned his talents definitely, hopefully to the
reen. He has signed to produce his famous,
imitable plays and spectacles for Warner
:rothers, the first of which, Shakespeare's '"A
lidsummer Night's Dream," is already in pro-
nction. Reinhardt is making his picture de-
nt with this his favorite play, because it was
is first Shakespearean stage production — away
jack in 1905. Recently he staged it in the
imous Hollywood Bowl to the applause of the
iitire picture colony.

. Reinhardt has no ties to draw him back to
|ie Berlin he made famous as a center of
lassie drama. A hostile government has
rowned on him, confiscated his seven
leaters, every bit of his property, every

,J*Q$

Emil Jannings is another of
the "greats" developed by
Reinhardt. His performance
as the hunchback in "The
Miracle" resulted in his Amer-
ican screen debut and many
hits

Elisabeth Bergner is another
pupil of Reinhardt's, one of
his greatest. Now being ac-
claimed on the London stage,
she is soon to be presented
on the New York stage

Conrad Veidt's record under
the heading of "stage expe-
rience," has but three words,
"Max Reinhardt, Berlin."
Nothing else is necessary. Al-
though he has appeared in
films here, he is better known
for his work abroad

penny of his wealth. Outside of his

annual festivals in Salzburg and

Florence, he has nothing to draw him

back to Europe. Of course, New York

will claim him part of the time — but to

him Hollywood is Mecca.

So this man might well bring about a

Shakespearean revival and increase our

appreciation. He might also be just the

one to give the movie going public a few

healthy doses of Shaw, Ibsen,

Moliere or Goethe — and

make us like it!

About Shakespeare, Rein-
hardt says, "He was not —
what you call it — a highbrow.
He did not write for the
academician. No! He was a
poet of the people, for the
masses. Actually everybody
understands Shakespeare.

"And the screen should
not look to the stage or the
poets of the stage for its
themes and material. It
should reach into the rich

"The Lubitsch touch" has
become a hallmark of merit,
that of the noted director,
Ernst Lubitsch. Yes, another
Reinhardt graduate

American scene for the life that is
all around us. There is ample
material in that life. Dreiser's
'An American Tragedy' is an
example — something that actually
happens. When this life is trans-
lated by the genius of a great
American poet — then Hollywood
will have its ideal screen mate-
rial."

"And I hope to bring 'A Mid-
summer Night's Dream' to the
screen even more effectively than
it can be produced on a stage —
indoors or outdoors. The beauty of
the screen is that everyone
can be in the second row.
Much of what your audience
misses on the stage, they
will be sure to see on the
screen. Of course, what I
am afraid to lose is the con-
tact between player and au-
dience, the reaction and coun-
ter-reaction— that is what I, as
as the director, must supply.

"But there is no reason why
the screen cannot present a play
such as 'A Midsummer Night's
Dream' better than the stage. First
of all, it is a poem of nature. Love,
poetry and nature are very closely
woven. And here where nature is at its
most beautiful, where there are forests

mountains and meadows to be caught by the camera— I
a poem should be twice as full and complete. You cannot I
ng the beauties of nature to a stage — so you are always :
limited. The screen should be ideal." Reinhardt paused!
in his enthusiasm for a note of caution, "However, it I
is an experiment."

I wondered if his greatest experiment wouldn't be
with Hollywood actors. Reinhardt, you know, while
securing the greatest European actors for his Con-
tinental productions, has always had about him a
group of personally trained artists. His Rein-
hardtschulc in Berlin was the alma mater of prac-
tically every important actor on the Continent.
In his seven theaters in Berlin and one in Vienna,
almost every European dramatic artist has ap-
peared.

In fact, while for years the proudest boast an
actor could voice was "Eve studied with Rein-
hardt," it also became a standing joke abroad—
because every actor claimed the distinction, even
though he had merely walked backstage in a
Reinhardt theater!

Here in Hollywood, Max Reinhardt will have
to do what any other director has to do — cast
from the large group of Hollywood actors — and
shoot with them. He will not have the time to
train them to his methods.

I asked him if he intended to found another
Reinhardtschule in Hollywood.

"No," he replied, "at least not at the present
time. There is much talent here," he smiled,
"you will be much surprised. There will be some
discoveries. The future will show."

Max Reinhardt is a pioneer by instinct and
an adventurer at heart. He is sure of himself,
daring and he is never afraid to do the new
or unexpected. f please turn to page 92 ]

William Dieterle, after nine
years under Reinhardt as an
actor, then turned to directing.
He is here as Lysander in
"The Dream"

Mady Christians says
she couldn't replace
what she learned in her
seven years with Rein-
hardt. "Even now," she
adds — star that she is —
"I find myself, when in
doubt, asking how he
would do it"

Across the desk in his
office at Warners, Rein-
hardt looks more like
the successful merchant
or banker than what he
is — the world's preem-
inent theatrical maes-
tro. He is seen here
with Jack Warner

■^■HB

Kenneth Alexander

"D ONALD COLMAN is soon to be seen as that fighting romantic, the two-
A ^fisted conqueror of a land unconquerable, "Clive of India." With him in the
20th Century production will be the classic Loretta Young. Colman's role is the
direct result of his sterling performance in "Bulldog Drummond Strikes Back"

RUDY certainly can make the girls step! One lift of
the baton, and they go around in circles. Looks like
an easy job, too, and Mr. Vallee seems to enjoy it. He is
putting them through the paces in his latest film, "Sweet
Music," for Warner Brothers. Vallee has a new leading
lady in this picture — the petite brunette, Ann Dvorak.
After nearly four years in dramatic roles Ann donned
a pair of dancing shoes for her first lead in a musical

—

THEY made no mistake when they cast Ann in a song
and dance role! Watch her step! Rudy looks
pleased, too. Ann was a dancer long before she was a
movie actress. For a year she danced in a chorus, then
instead of giving her a lead role, the studio promoted her to
position of assistant dance director ! But it didn't take Ann
long to get back in front of cameras. Many insist she
and Rudy will be the musical team sensation of the year

-JL

Max Munn Autrey

OAULETTE GODDARD, Charles Chaplin's leading lady, posed for the very
■*■ first photograph to be taken on the set of the forthcoming Chaplin picture,
mysteriously known as "Production No. 5." But, it is not a scene from the movie.
Nothing is known about that, not even whether Chaplin himself is going vocal

Mrs. Pat O'Brien was the

lovely Eloise Taylor whom

the late Valentino named a

prize-winning beauty

Though it took Pat five

years of luck and pleading

to get her, they're happily

married now

He Failed For A Million

TAR vanishes in Hollywood for three years — and makes

a million in the movies!

Sounds crazy, doesn't it? But wait. The star is an

Irishman. One of those six foot, divil-go-take-'em sort
of fellows who are born with Luck for a middle name and
Laughter for a charm piece. Maybe that accounts for it. If,
faith, there's any accounting for Patrick O'Brien!

He has lived a life as full of drama and strange conundrums
as one of his grandfather's stories. After that smash hit of his
in the screen version of "The Front
Page" people asked, "Where is
O'Brien? Have you seen O'Brien? "
No one had. They couldn't know
that by a queer Hollywood twist,
that "hit" had nearly killed him
professionally! But it led him into
making a fortune. That's the way
things happen to him.

From the time he was born in
Milwaukee on Armistice Day —
several years before the Armistice

With laughter for his

was signed, of course — Pat has magnetized Fate, in one form
or another, into doing tricks for him.

To start at the beginning — from a choir boy to chorus boy
is a long step. But in between Pat was a sailor. That helped.
He'd stretched the truth about his age to the recruiting officer,
done a two year turn on the deck of a battleship and, the war
over, he had stridden down Broadway prepared to give Hamlet
a break.

"Hamlet!" snorted a theater manager. "Go take the straw-
out of your hair!"

"That," said Pat with dignity,
"is not straw. It's what is left of
the hey-hey from my sailor's horn-

luck piece O'Brien has
a philosophy that can
beat the Hollywood jinx

By Jerry Lane

pipe!" So they put him in the
chorus. At the same time, down
the street in another show, was a
redheaded hoofer by the name of
Jimmy Cagney.

It was the ostrich feathers that
did it really. They provided cos-

[ PLEASE TURN TO PAGE 90 ]

aro

l,Wally

This story is a most
unusual human docu-
ment ; a foster mother
telling of her affec-
tion for an adopted
child, and of the
foundation of past memories
upon which that affection is built.
Mrs. Beery is a retiring person,
seldom seen in the limelight which
so surrounds her famous husband,
the motion picture star. This
fact lends even more interest to
this recital. — Editor's Note.

By Mrs. Wallace Beery

In a city of triangles, there is
no threesome happier than the
united in affection

Beerys

CAROL ANN has filled the only gap that was in our
lives, Wally's and mine. Her coming into our house-
hold has meant far more to me than I am able to
express. From the moment I had her intrusted into my
care I loved her, and was hardly able to believe my good fortune.
Watching her fuss around as she was getting ready to go to
lunch with Wally at the Vendome one day, it struck me how
much her excitement compared with similar
scenes in my childhood. She tried on
several dresses before she decided
which one was just right. She is
very particular, tiny tot that
she is. All her colors must
match — especially if she's
going with her Daddy.

Wally is more
than a hero to
Carol Ann. He is
a demi-god whom
she worships.
What a pair they make as
they walk along — he huge
and bulky — she tiny, tagging
along. And he is so proud of
her! Actually, he's a bigger
kid than she is. I call the
pair of them my two children.
Her most vivid recollection
doubtlessly will be of Wally at the controls of his aeroplane
flying her to Palm Springs over the week-end. For the aero-
plane today holds all the glamour and romance for children
which the train held for youngsters a generation or so back. I
can remember how my father was just as much a hero to me as
Wally is to Carol Ann. He was a crack engineer on the Balti-
more and Ohio railroad. There were three children, and how
we would prepare to meet him at lunch! The house was the
scene of no end of excitement as our blessed
mother would stand before the stove and fry

The Beerys at home: Wally, the hero,
Rita, the mother, and baby Carol Ann.
Carol Ann isn't really as bashful as she
looks here. But she isn't used to having
strange cameramen invade the privacy
of her quiet home

chicken. When it was done she
would pack it in a big pail along
with other delicacies, and we'd go
down to the station proudly carry-
ing the pail between us.

We would be scrubbed and
dressed in our very best, and be
waiting there as the train pulled in.
Then when Dad got his orders from
the station-master, he'd swing off
the train, and we'd open up the
lunch and help him eat it. If the
station-master didn't happen to be
around, Dad would take us for a
ride on his engine. We were won-
derful friends, my father and I —
and still are to this day. He never
comes to see me without bringing
some little token of love, if it's only
a sack of fruit.

This same bond exists between
Wally and Carol Ann. And when
Wally wanted to fly her down to
Palm Springs I was delighted. I
recalled how thrilled I was when
my Dad took me for rides in his
i train engine. And I wanted to see
Carol Ann have that same wonder-
ful understanding with her Daddy
as I had with mine. There is no
greater thing in the world.

Carol is drawn to me by the ten-
derest of bonds. She is a priceless
legacy left from my mother's half-
sister, and lifelong playmate,
Juanita. As she, a young woman
in her early thirties, lay on her
death-bed, she whispered that she

Heap big chief, and papoose. After see-
ing "Viva Villa," Carol Ann wanted to
play Indian. The Beerys have a Mexican
sunroom, so with a couple of Indian
blankets, Wally and Carol had a perfect
setting

wanted to leave something to me —
it was her dearest possession, her
baby Carol Ann, then nine months
old. Carol Ann had two brothers
—George now twelve years old
and Billy six, who live with their
grandmother, but who often come
to play with their little sister.

The day after Juanita's funeral,
I had a talk with her husband. I
pointed out that raising a little
girl alone was a great responsi-
bility. Without even saying a
word to Wally, I told him that I
would raise Carol Ann, and showed
him a letter wherein her mother
requested I do so. He agreed
that perhaps it was best that I
should raise, educate and give her
a real mother's

Carol Ann's a great
talker. Here is her
Daddy making an
electrical recording
of one of her very
first speeches. It was
a good speech, too,
says Wally

care.

Wally and I
were in the
midst of re-
modeling our

[ PLEASE TURN
TO PAGE 115 ]

THEY sat side by side on a straight little sofa in a
producer's waiting room — Charlie Ruggles and
Mary Boland, that popular comedy team of the
screen. Charlie twirled his round little hat, his
dimples nervously popping in and out like a pair of Jack-
in-the-box as he stole little side-wise peeks at Mary,
silting so straight, so determined, with a decided no-
monkey-business air.

Across the room, a blonde secretary sat behind a desk
filing a long, gory-looking nail. Occasionally a Hash of
crimson shot through the air as her manicured hand flew
to a stray curl over an ear.

The silence grew thick and clingy like fungus on a bat
tered oak tree.

"Hum-umm." Charlie suddenly cleared his throat
and Mary jumped.

"Don't do that," she protested. "It's enough to
shatter my nervous system."

"I — I can't help it if 1 have a frog in my throat, can 1?
I've got to get it out, haven't I?"

"Charlie, you could be full of frogs for all I care. In
fact, the way you keep jumping around it wouldn't Mir

Domestic rifts like Mary's
and Charlie's happen in the
best of screen families

By Sara Hamilton

Proof that mama loves papa — even if she did want him to

wear a horse-shoe charm around his neck and curl up his

hair like Francis Lederer. The producer couldn't believe

ma and pa had tired of each other

It's incompatibility. Charlie has a ranch where he raises

nuts and grapefruits. His pet is a Great Dane. He craves

quiet, peaceful evenings at home

prise me in the least if you were." Mary glared at him.

Charlie squirmed about uneasily.

"Quit fiddling," Mary snapped.
"Can I help it if I have to fiddle?" Charlie demanded.

"Well, you don't have to fiddle here. There's a time
and a place for fiddling. This isn't it."

The blonde secretary glanced witheringly at the sound-
ing buzzer on her desk. With a sigh she threw down the
nail file, yanked at her stocking, patted the curl again
and disappeared through a door marked PRIVATE. In
a few seconds she was back.

"The producer will see you now. Gwan in," she said.

Mary and Charlie rose. Charlie, at the door, tripped
over Mary's feet and fell headlong into the astonished
producer's lap.

"It's the hop toad in him," Mary explained. "He
leaps before he looks."

" Well, this is indeed a pleasant surprise," the producer
smiled when Charlie had regained his balance and his hat.
"What can I do for you this morning?" He fairly
beamed on the screen's greatest corned}' team. A team
that brought many golden shekels into an undernourished
box-office.

It was Man- who spoke first. In firm, clear tones she
said, "We want a divorce."

The pencil leaped six feet out of the startled producer's
hand and landed at his feet. The producer stooped and
Charlie stooped, their heads meeting with a thud.

!>C>

Divorce

dry can't see it. She has a garden and raises Sweet
VHams. Her pet is a Pekingese. She wants music,
song, gaiety. Besides, Charlie's unromantic!

I Do you have to knock him unconscious before we get
Hi matter settled?" Mary stage-whispered at Charlie
ween clenched teeth. "Can't you wait till it's all
rJ Business before pleasure, remember."
Charlie merely rubbed his head in a daze. The pro-
Ijjer gulped and swallowed with surprise, his mouth
ifning and shutting like that of a fish. Unable to say a

¥■

I\ ou— you want a divorce? " he finally gasped. " You
t want to be ma and pa on the screen? But — but
■?"
Well, she says I'm funny looking for one thing!"
trlie said.

; I only said if he had 'it' he got 'it' too late. Much too
*. Besides," said Mary taking out her handkerchief,
harlie isn't fascinating like Francis Ledercr."
he producer looked at Charlie accusingly.
Couldn't you be a little more fascinating?" he asked.
Well, doggone it, I can't be fascinating like that
I'uncing Czech.' I tried it and I got water on the knee,
i omething," Charlie explained. " I— I"
i ^ou see, he doesn't even try," Mary wept into her
' dkerchief. "The day I brought my hair curler to the
i ho and offered to curl his hair in darling little ringlel s
over his head like Mr. Lederer's, he made a terribb

Why, Mr. Ruggles!" exclaimed the producer.
1 Jn'sed at vou!"

Charlie hung his head but then suddenly he brightened.
"Well, I wore a charm for her, didn't I?"

"But you wouldn't keep it on," Mary complained.
"You see, that lovely Mr. Ledercr (Charlie moaned)
always wears a good luck charm around his neck and
Charlie never had anything glamorous around his neck
except his Adam's apple and there's nothing glamorous
about that. So I persuaded him to wear a darling little
charm, too."

"Well, 1 tried to wear it, didn't I? Only the darn
thing gave me lumbago and gangrene of the epiglottis."

"Charlie, don't be vulgar," Mary snapped.
"What was the charm she gave you?" the producer
asked.

"A horse shoe," Charlie groaned, "with all the nails
left in. When I stooped over, it took two electricians to
help me up. If that's what it takes to make a Francis
Lederer out of me, I don't want it. I want a divorce,
too."

"Besides," said Mary, "we're incompatible. He has a
Oreat Dane and I have a Pekingese." A slight hiss
excaped Charlie's lips. "Then, loo, he lives on a ranch
and I live in Beverly Hills. He raises grapefruit while I
raise Sweet Williams."

"And what else do you raise?" the producer asked
Charlie.

"Nuts," answered Charlie.

"And nuts to you," Mary cried. "Besides, people
think when they see us on the screen together all the
time, we're romantic off the screen. I never see Charlie
off the screen. Life is hard enough."

" \onsense, I don't believe I PLEASE TURN to PAGE 97 1

'I'm

The rift only widened when Charlie donned earrings and
wore a mustache. He still didn't look like a hero to Mary.
And Charlie, the old meany, just scowled at Mary when
she got Little Bopeepish, crook and all

Margaret Sullavan
is all dressed up
here, just before
she became the
bride of William
Wyler, with her.
But for the cere-
monies at Yuma,
Margaret went
right back to slacks.
And William thinks
they are one of his
wife's best points

Edward G. Robinson
is a camera bug. He
can't take a shot or
leave it ; he has to
take it. And nobody
is safe from him. He
bobs up everywhere,
taking candid pic-
tures. From the ex-
pression on the face
of Jean Arthur, this
one's a honey

This is the handsome
young buckaroo who
has claimed all the
attention of Sally
Eilers lately. He's
Harry Joe Brown, Jr.
But now, Junior has
given his mother per-
mission to return to
the screen, and you'll
see her again soon in
"Carnival"

A COUPLE of Hollywood actors
were having a feud.
"Why don't you tell that other fel-
low what you think of him and get it
over?" Bob Montgomery asked.

"I can't," was the answer, "the
cad has no telephone."

A/f AURICE CHEVALIER came back from
Europe with a lot of suits you can hear
coming through the front gate at M-G-M.
Bob Montgomery is positively green with
jealousy and has gone into retirement until
he can find some checks, plaids and scarfs
louder than Chevalier's.

p()R years and years Alan Hale played o
meany heavies until it was discovered th.
he has a nice kind face and can also sing. 1
acts, too, as you may have noticed. He r
marked the other day, "I did get so tired
being in wolf's clothing. Why, it got so that
was hiding my own wallet from myself!"

Ayf AY ROBSON was on location in a sma
California oil town. She was wearing
Salvation Army bonnet.

At noon, May walked into a lunchroom, s;,
on one counter stool and put her S. A. chapca
on the other. She was hungry, and attende
to the business of eating.

When finished, she hopped down off th'
stool and reached for her hat. As she prt
pared to don it — a quarter fell out.

May is saving it as a souvenir.

^OOD digestion — at any price.

Which is. the current motto of Jimm
Cagney and Pat O'Brien. Jimmy, who ha
had recurrent trouble with indigestion, firs
hit on the idea — and then Pat, his side-kick
took it up.

So now you see both tripping to work carry
ing an old-fashioned tin lunch pail, compld
with sandwiches, salads and cold cuts, a!
home prepared, in one hand — and a thermc
bottle in the other.

Each noon, they find a clear spot behind ;
set prop — and swap sandwiches that arcn'
the restaurant brand.

Incidentally, they don't get tired out writ
ing autographs in the studio commissary.

Y\7T< imagine a deep-sea vacation with Lf
Tracy and Jimmy Durante on Lee'
boat, will be something to write home about'
They are after big fish in the Mexican waters-
but the tuna will probably die laughing
There are three boats — the big mama boat, ;
small sailboat to go out and capsize in— and i
dory to rescue the capsizers. Full equipment
you might say.

/ LENDA FARRELL made her last pay-
''ment on her San Fernando Valley home —
ajl celebrated. A rather unique celebration.
Evas a trunk-burning party. A big old bat-
ted wardrobe trunk went up in smoke, and
tinda remarked, " It isn't everybody who can
5(nd and watch her home for many years
brning to the ground, and smile about it!"

LICE BRADY instructed her maid to tell
a certain gentleman if he phoned that she
re in the bath, as she didn't wish to speak
tpim. The gentleman phoned and the maid
Mowed instructions. After half an hour he
F>ned again and got the same answer. A
t rd time he phoned with the same result.
Finally, in exasperation, he yelled over the
v e :

Well maybe she's drowned by this time.
Vy don't you go see?"

IS Beverly Hills telephone calls poured into
he police station from frantic mothers saying
U their children hadn't returned from school
fl auto patrol set out to trace the missing
:ldren. Suddenly the officers heard loud
}|ling and laughter coming from the back-
ed of a newly occupied house.
: Who lives here?" demanded the officer
';:n the maid answered the door.

Jackie Cooper," was the answer, "He's got
ri rly a hundred kids in the back yard helping
In build a new shack. He says if they work
! d enough, he'll let them be in his club."

J EMEMBER the grand old ostrich plumes
,of mother's time? They must be coming
1 k- At least Jeanette .MacDonald is setting
I llywood on its ear by appearing at all the
i.irt spots in a chapeau dripping with plumes.
, Well," sniffed one little meanie when she
|apsed the MacDonald ostriches, "if I had
\ wn it was a costume party I'd have dressed
myself."

: 'o which several bystanders echoed, ' Meow,
\ w." Jeanette only smiled.

The son and heir of
Joan Blondell and
her husband, cam-
eraman George
Barnes, is not going
tempera mental,
he's merely hungry.
Joan is certainly
proud. George
wonders where that
volume from such a
tiny bit of humanity
can come

V/TAYBE M-G-M will have to go in the
house-boat business. Up on the beach in
Ventura is Pcggoty's house, built in a boat
turned bottom up. It was constructed for
scenes in "David Copperfield," but the studio
has received a dozen offers for it from persons
who want to use it for a beach cottage.

They may be fan
dancers, but they are
not to be whoopsed
at. Decidedly not!
They represent four
hundred pounds of
football, boxing and
stevedoring, all set
for some burlesquing
in Rudy Vallee's pic-
ture, "Sweet Music,"
for Warners

Bronislava Nijinski,
widow of the noted
dancer, discusses
details of the forth-
coming ballet in Max
Reinhardt's produc-
tion of Shakespeare's
''A Midsummer
Night's Dream."
Screen history is in
the making with this
movie. Watch it!

|_JE\TRY HULL has been made a Kentucky

1 'LColonel.

But here is what makes it unusual:

Henry Hull actually came from Kentucky!

Louisville.
Most of Governor Ruby Laffoon's staff

officers never sniffed bluegrass in their lives.

/,Q

THE aura of mystery which surrounds the
romances of Greta Garbo conjures up all
sorts of wild guesses as to what a suitor
does to woo the lady nobody knows.

Well — I was riding down the Coast highway
a Sunday or so ago and almost bumped into a
small flivver coupe turning around in the
middle of the road. George Brent was at the
wheel and beside him was a lady with a hat
pulled very far down over her face, but not far
enough to disguise that famous face.

For five miles or more my rear-view mirror
revealed the pair of lovers coasting along, even
as you and I, and sniffing the salt air. Finally.
Mr. Brent and his lady pulled off to the side
and parked to watch the wild waves — hand in
hand.

Love is grand — but its manifestations are
not very different in the case of Garbo and the
rest of the world.

A Sunday afternoon drive in a flivver. A
silent parking to watch the sea together.
What's mysterious about that?

■^"AT PENDLETON was telling
Charles Butterworth about un-
expectedly meeting his old school-
days' sweetheart in Hollywood.

"Boy, I hadn't seen her in twelve
years," Nat said.

"Has she kept her girlish figure?"
Charlie asked.

"Kept it?" Nat exploded. "Why,
man, she's doubled it."

TTHE most exciting lot in town, at the
moment, is Warners, what with Reinhardt
and Marion Davies moving in. The German
contingent, consisting in the main of Rein-
hardt, Korngould, Heinrich Blanke and
William Dieterle, plus any number of fellow
associates, have practically taken over the lot.
Some of them bring their wives, they sputter
German by the yard, and there is a general air
of bustle and activity.

One of the sights of the place is the enor-
mously tall and shaggy Dieterle, in his white
cotton gloves (once he contracted an infection
in his hand while directing a picture, and ever
since he has worn the gloves), striding down the
causeway with little Blanke, about five feet
high, both gesticulating wildly and hurling
German at each other.

To make things more involved, the official
interpreter doesn't speak English!

Mr. and Mrs. Wairen William were among the many celebrities present at

the Screen Actors' Guild annual ball. This is a rare picture in that neither

Mr. nor Mrs. William goes in for a great deal of social activity, both being

strong for a quiet home life

Which is Bill and which is Jimmy Cagney? They are alike enough to be

twins ! Anyhow, we'll do the traditional left to right and you can see whether

your guess was right: Mrs. Bill Cagney (Boots Mallory), Phil Regan (rear),

Bill, then Mrs. and Mr. Jimmy Cagney

Mrs. Robert Montgomery (left) and
Mrs. Chester Morris find a good
laugh in what Chester Morris is
saying. But Robert seems to be far,
far away for the moment. They
formed one of the foursomes at the
Screen Actors' Guild ball, a sea-
sonal highlight

A LAN HALE actually proposed to his \
Gretchen Hartmann, twenty years
while they were making a love scene in si ;
pictures.

"D ETTY FURNESS carries a small com
in her compact. Well, a girl likes to k
where she is, doesn't she?

/"WROL ANN was so lonesome to sec
^^papa that she hopped on a commei
plane and went to San Antonio, where 1>
now on location for "West Point of the J
Of course, Mrs. Beery was with her.

-,()

Joan Crawford and her almost inseparable companion and leading escort,

Franchot Tone, were table companions with Helen Hayes at the Screen

Actors' Guild ball. It's a safe guess Joan is telling about further plans for

her pride and joy, her little theater

'""PHEY were making a scene in

"Mississippi" where W. C. Fields

enters, takes a drink from a mint

julep glass and does a bit of dialogue.

After several false starts, what
seemed^to be a perfect scene was
run off. However, Director Eddie
Sutherland waved his hand in nega-
tion. "No good," he proclaimed,
"Bill, you forgot to take a drink."

Fields recoiled as if indicted with
a horrible crime. "Impossible!" he
exclaimed.

"Yes you did — " said the director.

"Well," said Bill in a dazed, weak
voice, "it's the first time I ever forgot
to do that."

Y\ TELL, you will have to admit that little
*^ Shirley Temple is doing all right when sh<
rates Lionel Barrymore as her co-star. The
picture is "The Little Colonel," which you
adored when you were ten, and Shirley makes
her first appearance in pantalettes. Bill Rob-
inson, who must have invented tap-dancing
(he taught all the famous dancers their
routines), will appear in the picture.

f^RACE FORD, pretty dancing teacher.
^Jtook two of her child pupils to the Warner
casting director. Max Arno. He looked them
over and announced, " I can't use the children
— but how would you like a contract?"

Grace is playing her first part in "Mid-
summer Night's Dream." But here is tin
part of it that no one except a certain passer
by knows. In sheer exhuberance, Grade
wanted to dance for joy. The only place sh<
could find which was not public, was a table
top in the prop department, where she exe-
cuted a Spanish fandango' (Ah. ah. Gracie!
You're in pictures and nothing is secret now!

TD ICHARD DIX turned down
-^-forty-six thousand dollars of-
fered him to appear in a shirt adver-
tisement, so you can imagine the
consternation when his picture
and endorsement appeared in the
publicity of a new tea.

His manager, suspicious, asked
him,"Didyou really endorse this tea?"

"Endorse it?" shouted Richard.
"I own it!"

[ PLEASE TURN TO PACE 86 ]

Could two girls show greater admir-
ation of husband or boy friend?
Petite Alice White smiles up at hus-
band Cy Bartlett (left) and Isabel
Jewell puts that certain something
into her smile for Lee Tracy. They
made up one of the jolliest Guild
parties

PVELYN LAYE worked until seven A. M.
when "The Night Is Young" was finished.
She stayed awake just long enough to get to
Santa Barbara where she slept for two days
without a quiver.

"DERT WHEELER gave his little
girl a dime for charity, but she
invested it in a soda instead. When
papa questioned the investment, the
young lady informed him, "It goes
twice as far this way — I give it to the
soda-jerker, and he can give it to
charity!"

Dick Powell was just about tops as squire at the Screen Actors' Guild ball

in that he escorted not one but two charming ladies. On his sturdy right

arm was Mary Brian, as was to be expected, while on his left was Mrs. Joe

E. Brown. Joe E. was home with laryngitis

tt£fr

^il

EVERY woman," said Miss Davies, concentrating on a
silky ear of her almost inseparable companion, Gandhi
the dachshund, "Every woman should decide what is her one
most sincere ambition — most sincere, not necessarily her
highest. Then she should attempt to fulfill it, before she
tries anything else." At the right, is the music room of the
Warner star's gorgeous home at Santa Monica, which faces
on the inspirational surge of the Pacific, within hearing

bJi

Marion Davies'
Secrets of Success

human being we can.

— and help others to live
As told to William P. Gaines

N many ways Marion

Davies is one of the most

remarkable women of
I this age, and she was
liking about success. Once
le knew poverty; now she
; said to be the wealthiest
|oman in Hollywood. Once

te was considered hopeless
an actress. But she
tablished herself as a brilliant comedienne and then proved
lat she could handle dramatic roles. Once she was a nobody —
) far as the world-at-large was concerned. Now she is known
i every corner of the world, and she is called the most popular
'•oman in the place where most of the world's movies are made.
i " Girls are always asking me, ' Miss Davies (for it was Marion
Lvies doing the talking), can't you tell me how to get along?'

— jirow into the best sort of

Live

"Some have asked me if I
could give them six, ten,
twenty, or any number of
rules to live by.

"And I've had to reply,
tritely but truthfully,
'There isn't any certain
number of rules for living
that apply to all individuals
alike — that will steer any-
one through all the circumstances that arise in a lifetime.'

"But I'll tell you what I've told a lot of those girls. There
are some policies that won't do any woman any harm at any
time. So, if you want to hear them, here goes:

"Every woman should decide what is her one most sincere
ambition in life, and then she should attempt to fulfill it, before
she tries anything else.

"Please notice, I said most sincere; not
necessarily her highest ambition. Every
young girl's head is full of a lot of conflicting
ambitions, day-dreams, and what we used to
call the 'natural ' feminine urge. The natural
urge, in days gone by, was to marry the boy,
settle down, and make a home. But the
world has changed. Today it's just as
natural for a girl to want a career. Nine-
tenths of the girls probably think they'd love
to be movie stars — not knowing what it
takes to get to be one. Of course, the huge
majority of them would be more comfortable
in business, or as housewives. And I believe
most of them know, deep down inside, which
of their ambitions are inspired by hopeless
yearnings, and which one is substantial.

"Well, if a girl sincerely believes she can
become an actress some day, or a cabinet
member, I say it is foolish — almost criminal
— for her to marry some young chap and try
to keep up his suburban bungalow. That
way her discontent can ruin two lives. The
other way, if she fails, she has wasted only
one life, and there is some inner glow from
a try that was genuine.

"All right. Once a girl has decided what
she wants to do, I think she should then and
there reconcile herself to any sacrifices she
may have to make to achieve her goal. If
she has married the boy, her goal is domestic
happiness. And if she thought that was
coming without a thousand readjustments,
she was just sappy, that's all. It's give and
take, give and take— always trying to take a
little bit more than you give. Which, if you
are sincere, is for the man's good; you'll take
the right things, and build on them.

"Security is the domesticated woman's
goal. And, if she's honest, she knows that
means security [ please turn to page 91 |

ZaSu Pitts started out to become a
tragedienne, but the audience
laughed at her vague hands. "They
have always waved around — sort
of without me," she explains. That
"Oh, dear" of hers was an accident,
in her first talkie

SOME actors arc born comedians;
some acquire comed\% and others
have comedy thrust upon them.
Heartaches, chance, desperation,
accident, luck, coincidence . . . upon
each one of these hangs the career of
some comedian who didn't mean to be
funny at all.

Harold Lloyd, after he evolved Lone-
some Luke, a comic type that mam'
considered an imitation of Chaplin,
worked out his smooth-face, funny fel-
low with the horn-rim specs — worked it
out deliberately, after long considera-
tion. But Harold had been a stock com-
pany character man. Louise Fazenda's
aim was to make people laugh — only she
didn't mean to make them laugh quite so
hard. The Marx Brothers had a definitely
comic act when they first started out
minus Harpo, but Harpo never meant to be
the comedy riot he is now. His comedy
was thrust upon him when he was dragged
unwillingly on the stage one evening, and
was screamingly and silently funny because
of his intense fright.

W. C. Fields was born a comedian. Charlie
Chaplin began as a boy entertainer in Lon-
don, but it was not until he more or less ac-
cidentally developed his sad little tramp that he

They Didnt
Mean To Be

FUNNY

became the target for a million laughs. Eddie Cantor
discovered that he could roll his eyes and so became a
singing comedian. Mary Boland was so ravishingly beauti-
ful that she was always cast as the conventional leading
lady opposite such actors as John Drew, but she achieved
higher rating as a comedienne when she got a light role in
"The Torch Bearers."

It is difficult to pick out many comedians who were born

in the interest of pure comedy. Most of them acquired il

or had it thrust upon them. A thousand potential Hamlets

are sending America into stitches, and a thousand

comedians are reducing us to tears.

Consider, for example, the sudden popularity

of Una Merkel since the talkies. Sitting in

her blue and white dressing-room at M-G-

M, we discussed the reasons for the giggle?

when she appears on the screen.

Bob Woolsey's funny, mincing swag-
ger is natural. He actually walks
that way ! But the cigar was an acci-
dent, from a gag. Wheeler's little
boy manner is studied

Joe E. Brown's yell came from trying
to get a friend up mornings. The
friend was a heavy sleeper, until Joe
E. thought of the yell. The mouth,
of course, helped

hi few actors
Hfe born comedi-
n s. Most of
lem acquire the
le or have it
rust on them

By Winifred
Aydelotte

EICATURES BY FRANK DOBIAS

[ know I'm funny on the screen, but
ill don't know why," she said. "The

li't time 1 went to a preview of a talkie I
wi in, I was mystified by the audience re-
aion. But I'm getting used to it. Just let
n| face come in view and everybody laughs."

lit isn't vour face," I told her. "It's your
vice."

•Perhaps you are right," she said. "It must
I my voice. Because in the silents . . . But
imy voice that bad?"

It 's just - funny. What about the silents?"

Jimmy Durante's side-
wise leer was protec-
tive. You see, he began
his career in a section
where audiences were
plenty tough. And
Jimmy developed the
habit of watching the
crowd out of the corner
of his eyes — to duck
missiles!

Edna May Oliver
was flabbergasted
when an audience
howled at her first
sniff. She added
the nose wrinkling
after that. But she
hates slapstick

Laurel and Hardy
fought bitterly
against being
teamed as comics.
Their gestures are
naturals, Hardy's
tie twitching, Lau-
rel's wild hair

•Well, when I played in silent pic-
lures, I wasn't funny. They thought 1
was the Gish-y type, fluttering through
the night, sort of a waif in the storm.
Nobody laughed at me then. Even at
home, nobody laughed at me— because
they were used to my voice, I suppose.
1 never meant to be funny. I was going
to be a great dramatic star. But then
talkies came, and I opened my mouth,
and everybody began to laugh. Well,
well, so that's why I'm a co-
medienne!"

And there you are! An inven-
tion shatters the celluloid
silence, and a star of the
Lillian Gish type has com-
edy thrust upon her over-
night.
The origin of ZaSu Pitts'
comedy trade-marks is
as vague as her hand
waving.

I went out to see her early

one morning recently, and

found her all done up in a

blue jumper effect, apron,

and towel wrapped around

her head. She was cleaning

house and baking Brownies,

the best cookies ever made.

ZaSu etched a vague arch in

the air and said, "I really

don't know when I first began

waving my hands. 1 mean, I

never noticed that it was funny

until an audience laughed at it.

My hands have always waved

I'M \SK TURN TO PACK 108 |

Here's the Standard

Sylvia says Gloria Swanson has perfect feet and

Ismail W6Ve^e PCrfeCt f00t is not neceSarny

a small foot. With proper exercise and Sylvia's

beauty treatments, a foot of any size may be made

attractive

IN the last couple of months I've pointed out the
stars who had the most perfect figure features
And I ve told you how you, too, can have hips
shoulders, neck, waistline, etc., as beautiful as
those I said were okay. I've set the standard for you

be good J Sa'V SOmethin8 is g°od> *'*> got to

You've all been begging for more and more and

more. I told you to have patience. And see? I'm

telling you everything I know. This month I'm de-

yf^D Sylvia's standards are high—with
^* stars for her models! If vou've been
spending your spare time beautifying your
skin and remodeling the face, take a
critical look now at your feel and legs
Then gel busy with Sylvia's advice to guide
you, and work your own beauty miracles

By Sylvia

voting an entire article to feet and legs-pointing ou
the picture girls who have the right kind and givin,
you the inside story on how to have beautiful feei
and legs.

Let's start with the feet. Whose? You guessed it-
Gloria Swanson's. Now Gloria's feet are small but
it isn t for that reason alone that I've pointed to her
as your standard of foot perfection. The small foot
is not always the most beautiful foot. The perfect
foot is nicely arched. The toes are straight and not
pinched together by too narrow shoes. There are no
bunions. And an attractive foot-like every other
part of the body-must be slender! I loathe those
fat, pudgy feet where gobs of flesh stick out from an
evening sandal. A foot can hardly be too slim. And it
doesn t matter whether it's broad or narrow, just
so it is in good proportion, the toes aren't pinched
and it's thin.
Gloria has the perfect foot. It is also very tiny
and, as a result, she has difficulty in getting
shoes. She used to have them imported from
Pans. Also she loved to appear tall and
stately in pictures so she wore those high !
spike heels. Gloria and I used to fight

To Joan Blondell goes the gold
medal for a beautiful lower leg.
It is perfectly proportioned and
developed, without looking mus-
cular. The right exercises will
do this

for Beautiful
s and Feet

a!mt that and I'm telling all you
gSs, "Don't wear heels that are too
hi;h!" Spike heels impair your
hiilth and your grace. They give you
al ugly, wobbly walk. And they're
tSi for your circulation.

Some years ago, as a reward for the
\ rk I'd done, I came to New York as
(loria Swanson's guest to see the open-
it of her picture "The Trespasser." A
fjl friend of hers from Chicago met us in
I.'w York but she had to go back home in a
fv days. Gloria hates to be alone so she
; ced me if I would stay all night with her.

'I have a hard time getting to sleep in a
;!ange room, but at last I fell off into that
ikt heavy sleep only to be awakened by one
J Gloria's practical jokes. Unknown to me,
se reached across from her twin bed to mine
Id put her ice-cold feet on my stomach. Mind
Ju, I was dead asleep but I awoke with a start
id yelled, "Oh Gloria, didn't I tell you not

1 wear those high heels? They're bad

jr your circulation." Gloria thought

at was the funniest thing she had

er heard.

; How to have foot loveliness?

ere's how. Every week

ve your feet a massage ^

ith a good feeding cream. .-

ub the cream in well and

nber up the toes with a |

•ntle rotating movement
the hands. Then with

a orangewood stick,

Few women are fortunate enough to have an upper leg as perfect

as Gertrude Michael's. However, with careful and regular exercise,

Sylvia says it can be achieved

tipped with cotton and dipped
in peroxide, treat the toe-
nails exactly as you treat
your fingernails. Press back
the cuticle. Let little pads
of cotton saturated with per-
oxide soak on each toe-nail
while you're massaging the
other foot. And be sure that
you cut the toe-nails straight
Never round them. You'll
have ingrown nails if you do
Now wipe off all the peroxide
and cold cream and paint
your nails with liquid polish.
It looks swell, especially
when you wear evening
sandals, for that big night.
You great big girls who teeter and toddle
around on fat feet squeezed into shoes a
couple of sizes too small for you should
be ashamed of yourselves. Better still,
you should give yourselves the once-
over in the mirror and see how ridicu-
lous you look. If you're fat all over,
reduce! In a minute I'm going to give
you an exercise for the legs that will
also reduce the feet and don't forget
that with my good old squeezing
method you can take off stubborn
lumps of flesh.

If you stand a lot and your feet
swell take alternate hot and cold
foot baths and afterwards lie on
your bed with your feet propped
up so that they are much higher
than your head.

And don't have bunions. The only
way to avoid them is to have
properly fitted shoes. If you have
a bunion get scientifically fitted
shoes. Yes, yes, I know. You say
they're not very attractive. Maybe
they're not, but it's far better to
wear these shoes for a couple of
months than to spend the rest of
your life with unsightly bunions.
Take a good look at Gloria Swan-
son's feet. There are no bunions.
Remember this also — no foot can be
really beautiful unless it's hooked onto
an attractive ankle and no ankle looks
well unless the rest of the leg is good.
Maybe you can guess one of my require-
ments for a beautiful ankle. It's the same
as for every other part of the body. I
can say it in one word — my favorite.
Slim!

Joan Blondell's ankles and the lower

part of her leg from and including the

knee down are wonderful. Take a

good long look. You won't regret it.

[ PLEASE TURN TO PAGE 85 1

Additional advice

by Sylvia about

other personal

beauty problems

found on page 85

IMonchalant lMoel C

owarc

IF Noel Coward is ever per-
suaded to make a picture in
Hollywood — and there is
still a possibility that he
may do it some day — he will
follow the lead of his friends,
Alfred Lunt and Lynn Fon-
tanne, and make it a sort of
"hop, skip and jump." A hop
into Hollywood, a skip out
again and a jump back onto
the stage. For the author of
"Cavalcade" and "Private
Lives" has no desire to be a
movie actor.

This doesn't mean that the
brilliant young dramatist hates
the movies. Speak of Holly-
wood's production of "Caval
cade," and he will tell you en-
thusiastically that it was mag
nificently done. But he is so
completely wrapped up in the
theater — everything he has is
in it — that being a picture star-
has no appeal for him.

I met Noel Coward in the
lounge of the Empress of
Britain, the liner that brought
him to America for the opening
of his new play, "Point Val
aine," in Boston on Christmas
Eve. He was with Lady Louis
Mountbatten and Viscount
Duncannon, son of Canada's
Governor-General, when I in-
troduced myself, some time be-
fore the ship reached Quebec.
Without a moment's hesitation
he had excused himself from
his companions and had taken
me over to the other side of the
lounge. There I chatted with
this good-looking and thor-
oughly charming Englishman
for almost an hour.

Noel Coward's personality
takes hold of you in a second.
He has made a brilliant name
for himself in the theater — he
has been lauded and praised
and called a genius, and no-
body could blame him if he
went "up-stage." But there is
nothing stand-offish about this
remarkable young man, unless
it is with the people he feels are
playing up to him in their own
interests. I found him easy to
approach, enthusiastically
ready to talk and charming in
manner. His smile is infec-
tious. He has a decided Eng-
lish accent, but it is the well-
modulated, pleasing accent of
the cosmopolitan Englishman.

The author of "Cavalcade" and
"Private Lives" may go out to
Hollywood — but he won't stay

By John Rhodes Sturdy

Aboard ship, on his way to America, the famous
young playwright who has written so many suc-
cesses^some of them loved, some of them
hated, all of them brilliant. With Coward is
Lady Louis Mountbatten, a fellow traveler

What exactly I wanted
know at the start, were his r
actions when he sits in a mo;
house and sees his plays on t!
screen?

He crossed his legs, settli
back comfortably in his chajJ
and smiled.

"But I seldom do," he r I
plied simply.
"Oh!"

"No, I very seldom si
movies of the things I write.
" Have you seen ' Design f<
Living'?"

"I haven't." Then his eye1
twinkled. A little smile cref
to the corner of his lips. "
was paid an enormous sum fq
the play in Hollywood. It wa
a perfectly stunning offer,
am told that there are three t
my original lines left in th
picture. Most important line;
like 'Pass the mustard, please'.
His conversation is con
stantly punctuated with wit
the wit that made "Privat
Lives" and "Hay Fever" hit
on the stage. Sometimes it i
sharp and pointed, and if yoJ
attempt to sting Noel Cowan
he will give you back that am'
more. They tell the story— i
wouldn't vouch for the truth o
it — of the young dramatis
meeting Lady Diana Manners)
star of " The Miracle." She i
said to have greeted Cowan
with the words, "So you an
the young man who wroti
'Private Lives.' Not ver\ ,
funny." He is reported t< j
have replied. "And you are thi
lady who played in Tht
Miracle.' Very, very funny.'
I asked him about "Privatf
Lives," and what he thought! j
of it as a picture. He wasn't
pleased with its production, ill
tried him on " Cavalcade," and '
he was seriously enthusiastic.

"It was beautifully doneon|
the screen," he told me. "1
don't believe it could possibly
have been made into a better
film than it was. Really fine
and those who handled it and
played in it deserve a great
deal of credit. I was immensely
pleased."

Noel Coward loves the
theater, naturally, because he
is a part of it. If he takes an
occasional dig at the movie

[ PLEASE TURN TO PAGE 105 I

post i»N* r rvJAf

i*0 vSL cA

eif^^'K^ow^

epe

l^L

l^N

ROYER, Fox Film stylist, added a
touch of luxury to this black and
Sold travel ensemble designed for
Mona Barrie in "Mystery Blonde."
Collared in silver fox with cuffs
and long fitted waistcoat of
gold-checked sheer black wool

THE traveler will appreciate a
costume of this type, for when the
topcoat is removed, she is ready
for the diner or hurried tea en-
gagement direct from the train.
The dolman sleeves and ascot are
in gold metal cloth. Hat is black

FOR resort wear, Royer
created a white shantung
suit for Mona to be worn
with white accessories.
Semi-fitted and with but-
toned pockets as the only
accent. Fringed coin dot-
ted scarf is worn on the
outside of collar, and a
white hat is draped with
a military cord. Pull-on
gloves and flat white bag

MID-SEASON
ENSEMBLES
AND SUITS
THAT GO
PLACES

, • s

* •

' -

i.V"

• •

• • •

ADRIAN'S unmistakable
genius always creates simply
smart clothes for Ann Har-
ding. In her newest picture,
"Biography of a Bachelor
Girl," we find this three-
piece outfit and hat band in
beige woolen, navy blue
dots and a blue organza collar

BLACK and white for a pic-
turesque effect by Adrian. A
Japanese print silk forms the
frock and hat crown, and the
black wool redingote is
trimmed with silver fox. An
Oriental and South Sea Is-
land style influence grows.
You will see more for Spring

FOR late Winter wear under
a topcoat, we suggest Ann's
ensemble in oxford gray nov-
elty weave woolen with red
blouse and beret. A special
fashion interest centers on
elbow length cuffs and wide
revers. Adrian's inspiration
is perfect for mid-season use

NORMA SHEARER DRESSES
FOR DINNER--AND LATER

» .

ON the warmth and
richness of red cut vel-
vet alone depends the
dramatic value of
Norma's musketeer
evening cape. A broad
bias shoulder roll and
an upstanding collar
suggest a cape. Note
the jeweled twin
clips. The gown is
soft white suede crepe

NORMA'S preference
for beauti fu I fabric,
good line and simplicity
is emphasized in a din-
ner dress of white frost
crepe, embroidered in
gold thread. An ac-
cordion pleated under-
skirt peeping from a slit
in the back skirt is the
only frivolous touch.
Peaked turban in velvet

THE loveliest of stars in a
gracious dinner gown of gold
lame. Again, only the metal
cloth and cut are depended
on for a strong note of chic
and sophistication. Norma's
high neckline is a fashion
favorite for dinner gowns,
and the almost school-girlish
collars are accompanied by
small trains. Designsby Adrian

J*l

■ kg

slORMA SHEARER

lings to her favorite
ailleurs for daytime, and
vears black velveteen to
n advantage with a
vhite pique gilet, gar-
lenias, doeskin gloves.
\n Adrian design. Her
)i 1 1 box hat is new

A WHITE frame for Myrna*s
Titian beauty, in a flare collar
which Dolly Tree has so cleverly
devised in a matching white
blister crepe. The coat is lined
with black velvet and corded
heavilytoaccentthegracile lines.
A suspicion of the velvet shows
at hands and beneath the tunic
lines of this flattering wrap

- "*

GAY STRIPES AND PLAIDSI

FROM BELOW THE R|H

GRANDE FOR RESORT AND

CRUISE CLOTHES

~x_-

|fc* -I

V -

JUST the outfit for a Tropics-bound
steamer. By Orry-Kelly for Margaret
Lindsay in "Bordertown." A Mexican
atmosphere is introduced in those
stripes as gay as Margaret's smile. The
wide revers are slashed, scarf' drawn
through. Close hat is breeze-proof

ORRY-KELLY chose a chenille
striped velvet jacket for Margaret
to wear over a formal dance frock.
Double collar, wide gold kid belt
and fullness below the waist. This
costume worn in "Bordertown"

A WHITE gabardine suit with
mess jacket and striped halter
vestee is suggested for Southern
resorts, because you can change
accessories for costume variety, an
idea that Margaret also likes

MARGARET dines in a gown of white chenille-striped crepe,
charmingly brightened with a kerchief, belt and skirt inset of
brilliant plaid velvet. Style notes: high neck, wide belt, train

t£K

mm :

**'

Irving Lippman

NEZ COURTNEY and Arthur Hohl are wondering what that book's all

about. But George Murphy won't even give them a look-in. The cameraman

caught them between scenes of "Jealousy." Murphy won the male lead

opposite Nancy Carroll in the Columbia film after he clicked in "Kid Millions"

Russell Ball

I T S a howling success when Charles Butterworth and his pet terrier present a
I number. That s a smart pup, too. He knows all about resting at bars and
following the scores. He doesn't like puns though. Bit the M-G-M actor
once when Charlie innocently told him to never B flat in "The Barkerole"

How Carole Lombard
Plans A
Party

Foremost hostess in the
Hollywood social whirl
Carole confesses here
her secrets of success

By Julie Lang Hunt

IT looks like a long, hard winter for Holly-
wood hostesses.
You see, Carole Lombard is back in the
social scramble, and that's very bad news
for all the party experts in the movie territory.
Last Autumn, when she opened her new gem-
f-a-little-house for a series of smart parties,
Carole was a dark horse in the hostess line-up,
but she finished the fabulously gay season of
'33 and '34 two laps ahead of all the established
favorites. Now, even the social die-hards out
here concede first place to her, on the strength
of her perfect little dinners and brilliantly
managed buffet suppers.

Last Winter, in the midst of one of her large
cocktail parties, I overheard a veteran hostess
exclaiming over the apparent success of the
gathering. She said:

"Just look at her (indicating Carole), not a
furrow of worry on her. Why, she actually
manages to be casual with a hundred guests
under her roof!"

And right there, in the wailing lady's lament,
lies the secret of Carole's social sorcery. She
is casual, or seems to be, which serves up just
as well. Her guests are never conscious that
hard work and thoughtful planning have gone
into the party they are enjoying. An evening
in the Lombard home seems to unfold itself on
a magic carpet, where even the food manages to
appear as the inspiration of the moment.

And by this time, if you're not frantic to
know how Carole does it, you'd better skip the
! rest of this story, for it is dedicated to only those women who
I are interested in the fine art of modern hospitality.

According to Carole, her casual manner in the drawing-room
is a luxury she earns with a right smart bit of work before each
party. She says:

I wouldn't think of giving a dinner, even a small one for

On the set, between scenes of "Rhumba," Carole takes time out

to go over a party menu with her housekeeper. Miss Lombard

says a successful dinner must be planned a week ahead of time,

even if only a few close friends are being invited

six people, without at least a week of planning. This gives
everyone in my household time to organize details. It gives
me time to plan a menu, my cook time to carry it out, and the
stores time to order any special or out-of-season foods. And
then it gives me time to arrange my own engagements so that
I won't be all tired out for it." [ please turn to page 94 ]

What I Like and

A FRESH MAN in
high school was talk-
ing, and she was re-
garding her nose in
the mirror with gloomy dis-
taste. "It must be wonderful
to be a movie star and know
that everything about you is
absolutely right," she said.

"What do you mean 'ab-
solutely right?' " I asked.

"Well, my goodness!" she
snapped. "If millions of
people go to see you, I guess
you have to be pretty good,
don't you? And I guess if you
know that millions of people
like you just the way you are
it gives you a lot of self-con-
fidence, doesn't it? I mean,
on account of all those people
liking you, you have no kick
coming, have you? I mean,
you like yourself just the way
you are, don't you?"

She turned back to the mir-
ror.

"The thing I don't like
about myself," she continued,
"is my nose. How do you
think I'd look if it was straight
instead of turned up? And I
don't like my hair. Would you
have it bleached, if you were
me? Or what would you do?
And another thing, I hate the
way I get all red and embar-

Imagine that! Neil Hamilton
doesn't like his smile! The
ladies, however, go for it in a
big way! And we'll bet Neil
has no fault to find with the
way his daughter Patricia
laughs

The lovely Virginia Bruce has
been called Hollywood's most
beautiful woman. Yet, she is
dissatisfied because she
doesn't like her chin. She
considers her eyes her best
facial feature

Douglass Montgomery won't
tell his dislikes. Says if he
doesn't mention his bad points,
maybe others won't notice
them. But for a man that's
not conceited, he has a long
list of likes!

rassed when I talk to a
stranger."

"I think I'll prove to you
that you're not one bit dif-
ferent from a lot of actors and
actresses." I grinned at her.
" I think I'll go out and prove
that many of the famous
people of the screen have likes
and dislikes about themselves
just as lively as yours."

And so I sallied forth to ask
two difficult questions of the
famous, because a little high
school girl dislikes herself so
thoroughly.

"What do you like best
about yourself, and what do
you like least about yourself—
on the screen and off?" were
to be my questions.

The first person I called on
was Virginia Bruce. After a
good deal of hard thought, she
decided that she likes her even
disposition and that she does
not like her inferiority com-
plex in the presence of people
of high intelligence. On the
screen she likes her chin the
least and her eyes the most.

Lee Tracy, dashing back and
forth on the set between me
and the camera, took two
hours to answer these ques-
tions, due partly to the fact
that he had to answer them

Hate About Myself

Jo indeed, the stars are
ot satisfied with them-
elves. They may be hand-
ome and beautiful, but
very time they look in
mirror, they wish — ■

?v Winifred Aydelotte

"They are beautiful!"
Karen Morley is talking
about her new eye-
lashes. "Just the kind
I've always longed for.
And they look as if they
grew on me!" But did
you know Karen is ab-
sent-minded? Even for-
got the eyelashes one
morning

"The face? It's ter-
rible!" says Tracy. No,
Lee doesn't like his face.
In addition to that pet
hate, he is very much
dissatisfied with him-
self because he is so
lazy! Well, we always
considered that one of
his chief charms

Look her over carefully, and
we'll bet you can't detect a
single bad feature. Elissa says,
however, that she is most dis-
satisfied with her mouth. Miss
Landi confesses, too, that she
has a quick temper

between shots, but mostly be-
cause he was anxious to answer
them honestly.

"On the screen," he said, "I
like best the fact that I have an
instinct for the right movement
at the right time. Now I'll take
the ego out of that statement by
changing it a little. I like the fact that after years
of studying to get my particular technique —
movement of hands, body, and timing — I don't
have to think consciously about my tricks. I have
made them mine, and I can recognize the instinct
when I see myself on the screen. Get it?

"Now, the other side of it: I hate my looks!"
"Don't you like your face — really?" I asked.
"No! The face is terrible!"
Off the screen, Lee likes least about himself his
laziness — his not being able to drive himself to do
what is necessary. He says he spends most of his
time just putting things off.

He likes best his ability to enjoy solitude.
"It isn't exactly self-sufficiency, but — well, look,
here it is: Everybody gives too much. Keep your-
self to yourself. I don't mean to be rude or hurt
anybody, but learn how to be happy by yourself.
That is not selfishness. It's just a courtesy a
human being owes to himself. I drove out here all
alone from New York. And I drove alone to
Florida. I was kind to myself and not rude to
anybody else, because if I had taken someone with
me we couldn't have agreed every single time
about where and how long to stay at a certain
place, or what to do. Either he or I would have
been hurt, or uncom- [ please turn to page 102 ]

Select Your Pictures and You Wo

n't

SEQUOIA M-G-M

HERE is a tine and beautiful picture which will amaze
you because its story of animal life in the magnificent
Sierra Mountains will stir you more deeply than any human
drama. Jean Parker (perfectly cast) rescues a young fawn
and a baby puma from pursuing hunters. The two animals,
natural enemies, grow up together in a miraculous friend-
ship, until Jean is forced to release them. The love story
that follows when the deer takes a beautiful doe for his
wife and they set up housekeeping in the woods, is one of
the loveliest things you've ever seen on the screen.

The human romance, with Jean Parker and Russell
Hardie, is effectively woven through the picture. Take
grandpa and the children, and you'll all probably stay to
see it twice. For it's a triumph in motion picture making

IMITATION OF LIFE Universal

YOU will weep gallons, but you will love this warm, human
story of the fine friendship between two mothers of
different races allied in the common cause of their children.
Bea Pullman (Claudette Colbert) a widow with a baby
girl, is selling maple syrup for a living, when along comes
shining black Aunt Delilah (Louise Beavers — and what a
performance!) with her little girl, Peola. Delilah makes
delicious pancakes. Result: Aunt Delilah's Pancake Flour,
and eventually a fortune for the two women. As the chil-
dren grow up, however, difficulties present themselves.
Pcola (Fredi Washington) looks white, and denies her black
mother. Boa's daughter (Rochelle Hudson) falls in love
with Warren William, whom Bea was to marry. The
story, skilfully handled, makes a fine film

The

Shadow

A Review of the Neiv Pictures

THE MIGHTY BARNUM 20th Century-
United Artists

STEP right up, folks, and see just about the grandest show
you ever paid your money for. You get the show and all
the behind-the-scenes business as well, plus fascinating
biography, and a laugh a minute. And the pathos is there,
too when it is needed.

Wallace Beery as Phineas T. Barnum gives his best per-
formance since "The Champ," and the rest of the cast is
right up with him. Virginia Bruce, as Jenny Lind is the big
surprise, looking more beautiful than anyone we can think
of, and singing like an angel. Adolphe Menjou as Mr.
Walsh, an alcoholic scientist, is a wow, Janet Beecher is a
perfect shrewish Mrs. Barnum, and Rochelle Hudson lovely
as the girl Ellen.

The opulent production, the movement, color, fantastic
characters, the smoothness and direction, all combine into a
brilliant background for some grand acting. The story is of
Barnum's career from the New York small shop-keeper with
a passion for freaks, on through his museum days, up
through his mad infatuation for Jenny Lind which ruins
him. Then he stages a grand return, uniting again with
Mr. Walsh — whose first name turns out to be Bailey. This
picture of the greatest show-man on earth, who was the
originator of present-day exploitation, is salty and vigorous
and one of the best evening's entertainment you will ever
enjoy.

lave to Complain About the Bad Ones

The Best Pictures of the Month

II MIGHTY BARNUM SEQUOIA

)MANCE IN MANHATTAN IMITATION OF LIFE

THE PRESIDENT VANISHES
LIGHT EYES BABBITT

hHl.S IN TOYLAND IT'S A GIFT

The Best Performances of the Month

Wallace Beery in "The Mighty Barnum"

Virginia Bruce in "The Mighty Barnum"

Francis Lederer in Romance in Manhattan"

Claudette Colbert in "Imitation of Life"

Louise Beavers in "Imitation of Life"

Edward Arnold in "The President Vanishes"

Arthur Byron in "The President Vanishes"

Guy Kibbee in "Babbitt"

W. C. Fields in "It's a Gift"

Gene Raymond in "Behold My Wife"

Casts of all photoplays revieived will be found on page 110

ROMANCE IN MANHATTAN-
RKO- Radio

ONCE in a while a well-nigh perfect screen play is written;
a practically flawless cast is assembled to make the al-
eady lifelike characters breathe, and a clever director lifts
he whole thing to a rare height.

1 Such a picture is "Romance in Manhattan," directed by

Mephen Roberts and enlivened dramatically by Francis

,-ederer, Ginger Rogers, Jimmy Butler, J. Farrell Mac-

)onald, Sidney Toler and Donald Meek, all of whom make

he film an offering of rare excellence.

Lederer plays the part of a Czechoslovakian immigrant
\ho enters the country illegally and gets a job from Ginger
Rogers' small brother, Jimmy Butler, selling papers. Am-
)itious, he rises to the triumphant heights of being a taxicab
1 river — and in love with Miss Rogers at the same time. Ah!
America is a wonderful place! But he cannot marry her
'ecause he is not a citizen, and the small brother is placed
n an orphan asylum because Miss Rogers is judged an unfit
guardian, and things look pretty black until an Irish cop,
r. Farrell MacDonald, comes to the rescue in one of the-
nost hilarious scenes ever designed to bring about a happv
nding.

Lederer is charmingly at home in his role, and M:ss
Rogers excellent. But the bulk of the bravos must go to
itephen Roberts whose direction is just this side of miracu-
lous, and to the authors whose pens were inspired.

THE PRESIDENT VANISHES
Walter W anger -Par amount

FOR once a picture deserves the term "sensational."
Timely, startling, even shocking, this screen speculation
of what would happen if the chief executive vanished in a
crisis, is guaranteed to do more than capture your intense
interest. It will make you think.

In no recent film have there been so many cameo-cut,
vigorous characterizations. x\rthur Byron plays the con-
scientious President Stanley with earnest, human dignity.
Edward Arnold achieves another triumph as Secretary
Wardell. Osgood Perkins, Paul Kelly, Edward Ellis, Janet
Beecher, Andy Devine, and the entire cast keep up the
high standard.

To some it may seem illogical in spots, colored slightly
with propaganda. But all will find it intriguing.

BRIGHT EYES— Fox

A BRIGHT bit of entertainment, not too sad, not too
gay, not too incredible.

Shirley Temple, orphan, is sheltered by the boys at a
flying field, and quite firmly but without benefit of legality,
adopted by Jimmy Dunn. A battle ensues when one, Uncle
Ned (Charles Sellon), a grouchy old fellow in a wheel chair,
sets his soft, old heart on having the child.

The end is pretty exciting, what with Jimmy and Shirley
bailing out of a doomed plane, Jimmy being accused of kid-
napping her, and a courtroom scene where a judge brings
Jimmy and his estranged sweetheart, Judith Allen, together
again, and makes a happy ending all around.

A fine characterization is offered by Jane Withers, a
little girl not much older than Shirley. Sellon is superb.

The National Guide to Motion Picture

(REG II S. PAT OFF.)

BABBITT—
First National

BABES IN
TOYLAND-
Hal Roach-
M-G-M

GEORGE BABBITT, Sinclair Lewis' famous character
comes to the screen via Guy Kibbee, as a naively exasperat-
ing old gent, who is very susceptible to flattery. As a result of
Kibbee's characterization — and he's at his best — the picture
escapes the caustic preachment class and is humor-laden enter-
tainment. Aline MacMahon is excellent as the wife. Minna
Gombell, Alan Hale, Minor Watson shine in support.

THIS screen version of Victor Herbert's nursery-rhyi
classic is a marvelous mixture of stirring, if fantastic drat
and riotous tomfoolery. With Stan Laurel and Oliver Har
at their best and funniest, with Charlotte Henry as a ve
charming Little Bo-pccp, Felix Knight the handsome Tom, a
Henry Kleinbach the villain, this is gay and pleasant enti
tainment for young and old.

IT'S A GIFT
— Paramount

ONE HOUR

LATE—

Paramount

IT is a gift! W. C. Fields makes this one long laugh from start
to finish. In his favorite role — that of the henpecked hus-
band— he starts with his family for sunny California and an
orange grove. And the laughs pyramid with each of his suc-
cessive absurdly amusing adventures! Good support from
Jean Rouverol, Kathleen Howard, and Baby LeRoy. But
Fields is the show.

ANEW screen personality, Joe Morrison, makes a stro
bid for fame in this spritely little yarn depicting the lo
of an office clerk for a stenographer, Helen Twelvetrees, ai
their difficulties when their romance is nearly wrecked by t
boss, Conrad Nagel, and a file clerk, Arline Judge. Laughs a
frequent, pathos well spaced. Entire cast is good, but ii
Morrison and his sweet voice you'll remember.

MARIE

GALANTE—

Fox

BEHOLD M

WIFE—

Paramount

WHAT should have been a completely strong and gripping
story breaks in spots because of glaring implausibilities.
Ketti Gallian, the new French star plays the part of a little
French girl kidnapped by a sea captain and put ashore at Pan-
ama, where she becomes involved with spies and intrigues until
rescued by Spencer Tracy. Ned Sparks, Helen Morgan, Leslie
Fenton, Arthur Byron good.

THIS is ye old time hokum, done convincingly with distin
audience appeal. Sylvia Sidney is an Indian princess wl
would do justice to any reservation. Gene Raymond mam
her to get revenge on his socially-elegant family, who thwarti
his love affair with his sweetheart. But Sylvia turns tl
tables. Miss Sidney is lovely, but Gene Raymond easily mak
it his picture. A newcomer, Ann Sheridan is good.

v e s Yo ur Picture Time and Money

\TTLE—

«anoff
W.

^gs '

: (^

STRANGE

WIVES—

Universal

THIS, the English version of a famous French film, is a
Jjpicture of enormous power. If you want light entertain-
m, it won't do. For it's tragic and tensely moving, this
una of a Japanese naval officer (Charles Boyer) and his love
Shis flower-like wife (Merle Oberon) whom he is willing to
arifice in order to obtain admiralty war secrets from an
lish attache. Superb direction and photography.

1 VICKED
WIAN—

v\G-M

IF you think in-laws are a joke, you'll appreciate Roger
Pryor's predicament when he married a Russian Princess
and in walk in-laws Ralph Forbes, Cesar Romero, Esther Rals-
ton and Valerie Hobson, with servants and swank, for Pryor
to support. Then comes a one man revolution and Roger
marries off the whole tribe to his friends. Walter Walker, as
papa of the clan. June Clayworth, as the wife, are A-l.

EVENSONG—

Gaumont-

British

''LEAR, clean cut characterizations by the cast lift this trite
M'story into the ranks of interesting entertainment. Mady
-Hstians, kills her husband to protect her family and hiding
Hi crime, flees with her children. When she falls in love with
Varies Bickford, her son's boss, it becomes necessary for her
cbonfess the murder. All ends well, however. Jean Parker,
3 ty Furness prominent in strong supporting cast.

M A

T1EF—
trners

MUSIC lovers especially will welcome the wealth of grand
opera in this film, and Evelyn Layes' beautiful singing.
The story is the rise and fall of- a great prima donna — her first
success, her triumphs, her final defeat. Miss Laye has an
exacting role, musically and dramatically, and she fills it
admirably. Fritz Kortner, Muriel Aked, Carl Esmond, and
the entire cast, are adequate.

WEST OF
THE PECOS-
RKO-Radio

\\ ELS, jewels, who has the jewels? Everybody looks
Jifilty: Ricardo Cortez. Mary Astor, Dudley Digges, Irving
Ppel, and the rest of the cast. Slow and confusing in spots,
1 story of a missing diamond necklace keeps you guessing
i the last reel. If your interest in the diamonds wanes, there's
i ysterious murder and a nice love story to keep it sustained.

HERE is a good Western — moving swiftly, with comedy
situations sprinkled in, and several new story twists. The
cowboy hero is Richard Dix, who goes to San Antonio to round
up a gang of crooks, and meets up with Martha Sleeper, dis-
guised as a hard-boiled boy, her father, Samuel Hinds, and
Sleep 'n' Eat, and Louise Beavers. Dix is splendid.
[additional reviews on page 112 ]

Mitzi s Hollywooc

thought I, little lamb Shirley wouk
"pipe her eye" because of that, for si,
a very good little girl. No, she
autographing a photograph, and ■
photograph was going to a little
whose mother had just died. Li •
Shirley pleaded through her te;

"Can't we help the poor little ch.
mummy dear?" The darling!

But suddenly, as a loud and hea
smack smote my ears my sorrow ti
wings. I looked around. Lovebi;
Tom Brown and Anita Louise. T
girl is such a beauty. When I get fil
rich I'm going to take an option on
and just sit around and look at t
cameo profile. Mister Brown was lun
ing in make-up and had been wait
for Anita. She came tripping hapj
in, and smack, they were in each oth
arms before you could flutter your c
lashes!

After lunch they came over to
hullo and goodbye. It was the ni
Anita was leaving as a guest on the i
crack speed train, and it was a fori
Tom who tried to put on the big brav
act. I said, " Separation's good for h

Well, Mr. William S. Van Dyke knows how to
direct parties as well as pictures. He gave one
recently to initiate the new playroom in his
Hollywood home. With Helen Morgan on his
right, and Mitzi on his left, Mr. Van Dyke is
playing the role of perfect host

DEAR JOAN:
I got the weeps! I got the sniffles! My heart breaks
for our little Shirley Temple, for she sat not ten feet
away at the Assistance League, lunching with her
mama, and the tears just rolled down her sweet little face.
What was the trouble? I did notice spinach on her plate, but,

Jean certainly looks beautiful at a typewriter! Imagine

her mother being scared she might not photograph well!

Mitzi asked Miss Harlow about that new novel she

is writing. But Jean was too modest to talk

-Go-Round

/T certainly is a star-studded ex-
istence that girl Milzi leads! One
round of gaiety, with handsome he-
roes and beautiful heroines around
every table. There is a tearful
note' in this letter, however, but it
doesn't last long! She tells every-
thing, too — from complexion secrets
to how Nelson Eddy and the lovely
Jeanette Mac Donald sang to each
other in very flat notes! It was all-
in fun, of course. Which is the way
everything is for Milzi!

Mitzi says she thought Bill Gargan's face looked familiar,
but she didn't recognize the body. Reason, Bill is re-
ducing. Lost thirty pounds, by diet. His wife is worried
about him. But even while Mrs. Gargan pours his tea,
Bill says, "No sugar, thank you"

Anita. It will make him appreciate you." But when I looked
nt the poor guy my hard heart melted and I added, "I guess
that isn't necessary, is it?" He shook his head quick. Then
Anita turned a melting look on him and they both dissolved in

' a mist of love! Wheeeeeeeeeee!

About this time I noticed a gentleman nearby eating a salad.
The face, as the saying goes, was familiar, but I couldn't place

- the body! No wonder. Bill Gargan less his thirty-three
pounds! His proud missus told me that she practically has to
force-feed him, she's that afraid he'll be snitching Baby LeRoy's

I parts!

Did I mention how I bumped into Dick Powell at the desk of
his apartment-hotel one night when he was trying to cash a

Mitzi says Alice White's home and husband are
so important to her, just to talk to Alice gives one
an urge for domesticity. Here is the happy couple,
Mr. and Mrs. Cy Bartlett, sitting side by side at a
party and getting a huge kick out of it

check? Not important, dear, but cute. He had an in
dorsed check for $6.79, but the cashier had no change,
so she gave him seven bucks and then bade him cross
his heart and take an oath he'd bring back the twenty-
one cents in the morning ! Dick made a solemn promise !
As he turned to leave, the seven dollars clutched in
his fist, he bumped squat into Georgie Stone, that par-
excellent little actor you've always raved about. They
shook hands like they hadn't seen each other in years,
and they hadn't, even though both had been living in
the same place for ages! They made a date for break-
fast the following morning, and I made a date for dinner
with Georgie right that night.

Last week I got a hankering to see my old friend, Ann
Dvorak, for whom I made wise predictions when she was in the
M-G-M chorus. So, I slipped into my motor and whisked over
to Warners, where she acts. We went for a spot of lunch at
which Alice White, another old friend, joined us. There's no
nonsense about them gals, lambie. Glamorous actresses, sure,
but their homes and husbands loom so important in their lives
that before the meal was over I was feeling the urge of domes-
ticity so strongly I nearly lassoed a strange (and attractive!)
man at the next table!

First off, Annie the cow is the pet of Ann the actress. And
every Sunday morning Annie moos somep'n dreadful until her
mistress comes out and says hullo. How does Annie know it's
Sunday ... the only day Ann [ please turn to page 113 |

The New Ambitions
of Joan Crawford

'HE time is so short —
and there's so much to
do—"

I had just asked Joan
Crawford about her plans for the
future.

I hadn't talked with her for
any length of time since
twelve years ago, when
she was an unhappy,
work-weary student at a
Missouri college. From
the future then, she
wanted desperately free-
dom, recognition, a
chance for expression,
and some security —
ihings she had never
known then.

The woman who now
sat across from me be-
neath the white pergola
in the garden of her
BrentwoodHeightshome
had all of those things.

She had carved a monu-
mental career out of noth-
ing. She had satisfied a
consuming inner demand to
be somebody. She was a
star, one of the greatest stars
in the movie heavens — high,
shining brilliantly.

From where we sat we could
see the perfectly appointed, sub-
stantial house, which painters
and decorators were then re-
modeling to meet her whims. The
expansive swimming pool flanked
by her newly erected little theater
and a bath house spoke eloquently
of the comfort and stability she had
achieved.

The woman who sat across from me
in a white lawn chair, looked, in the
pergola-filtered sunshine, very much
like the college girl I had known.

Joan Crawford turned in my direction
the same clean carved, faintly freckled
face with its wide, intense blue eyes. She
smiled with the same generous mouth;
shook the same auburn tinted locks over
her shoulder.

But all her security, her fame, triumphs,
possessions — somehow I forgot them.

For beneath the mobile masque of the actress
was also that same restless, harried look, which
had made you look twice at that vital college girl
and wonder what it was she wanted out of life!

That tense

That shadowed crevice between her brows,
tug at her under lip.

Eager, insistent, seeking— for something more— struggling
against restraining bonds —

" The time is so short." Short? For Joan Crawford, still
in her middle twenties?

" My contract calls for three pictures a year," she told me,

"with an option for a 'special ' picture. So it may

mean four. I never know how long they'll take.

'Dancing Lady' took five months. I never know

when the next one will start. I can't plan on any

definite free time between pictures.

"And when I'm working, all of my energy, all of

my time, goes to the picture. I can't do— I can't

even think — of anything else. Everything has to

be so perfect."

I know what she means. Joan Crawford doesn't
have one costume fitting— she has five and six
for each gown. One make-up doesn't last her
through the day. Each noon she spends her
lunch hour changing to fresh make-up— eats in
ten minutes.

Sundays are her only days off. She spends
them learning new lines or a new dance
routine. Nights, spare minutes, meals— she
never relaxes during a picture. Her nervous

Above, Joan Crawford and Clark Gable in a scene from
"Chained." Left, Joan on her way to work. For her
now there are no holidays or vacations. Every min-
ute's time is taken : work, study rehearsals, more work.
Yet she says, restlessly, "I can't just sit back and be
a star"

Today she is one of the
brightest stars shining
in the cinema heavens,
yet she sets new goals
for herself to attain

By Kirtley Baskette

:iergy is taxed to exhaustion. She worries until her stomach
ckens— she's made that way. A picture takes everything-
verything— from her, leaving nothing with which to accom-
|lish the things that she feels must be done. .

I asked her if she didn't think maintaining

movie star's career was enough.

"But I can't just sit back and be a
tar," she said. "I've got to justify
my life. I have to develop. I need
Jo many things— so many things.
1 need the experience of the
a age. Not only for my work
put for me.

i "I haven't enough self con-
i&dence. I haven't enough
poise. It makes me miserable."

In the middle of a scene of
"Forsaking All Others," Joan
Las working with her back to
;the door of the sound stage.
Suddenly she stopped, taut.
She hadn't seen anything. She
ihadn't heard anything,
ishe knew that someone

But

had

Crawford seven years ago,
Joan of "Rose Marie." She
has learned so much since
then, and gone so far, it seems
entirely possible that her
present plans and ambitions
for the future will be attained

Crawford of today —beautiful and glo-
riously successful. Yet she is find-
ing no satisfaction in fame, and Holly-
wood, once so important, means
nothing to her today

come into the place who was criticizing

her, mentally. Someone had entered, who,

unlike the crew and the cast, wasn't with her.

She turned around. Another star had

slipped in to watch her work. Joan had

sensed the measuring mind. She couldn't go

go on until the visitor had left.

"That isn't poise, certainly," she declared.
"Even previews are torture for me. I can't
eat for hours before. I'm a wreck when they're
over.

"That's what I've got to conquer. And the
only thing that can do it is the stage. I don't
want the fame of the stage, I want the ex-
perience.

" It isn't the money, either. If I could have
the time off, the studio could take any extra
profits. But I haven't the time. I'd need six
months. But when have I ever had six
months? When will I?"

The crevice between her brows deepened.
Then her tense, earnest face relaxed with a
smile.

"Of course," she admitted, "the very
thought of it scares me to death. I would be
petrified, I know. But I must do it. That's
one reason I built the theater here."

We walked over to the famous and some-
what mysterious [ please turn to page 101 1

NEW GROWTH-OR FACTS
ABOUT BEAUTY AIDS

The hair vogue that
captured the world's
fancy, and a favorite
fashion with the
Parisian manikins at
the moment. The
traditional Hepburn
bangs reappear, this
time in "The Little
Minister." Another
Hollywood sweep-
ing fashion!

Brushing for beauty
is a legend as old as
Mother Goose, but
Helen Vinson
knows the grand re-
sults. Upward
strokes, advises
Helen, with a ripple-
bristle brush polish
every strand, en-
courage a rapid cir-
culation

ANNA STEN at a recent reception in New
York, an engaging picture in gold and white,
from her simple white crepe gown with jacket em
broidered in huge gold medallions to her golden
hair brushed back from her face. A striking face is
Anna's. Her blue eyes are wide apart, giving her
face a deep sense of repose. Her lips are pleasinglv
full, her cheekbones and jawline prominent ami
strong. A mobile face for the camera because the
contours and features are expressive and emotion
can play fleetingly and subtly on this type of face
without obvious effort.

In a low, husky voice Anna tried to explain away
the mystery. of her hibernation in Hollywood for
more than a year. With the aid of four or five
tutors the Russian girl had to learn English. The
designers and make-up experts had to experiment
with the right clothes for Anna, the make-up
touches that would translate the true spirit of her
roles on the screen. It was all a matter of growth.
new growth for the little Russian. Then the public-
was introduced to her as Nana and Katusha. As
Katusha, especially, I believe she will live in our
memory for a long, long time.

Anna's experience in Hollywood, growing, study-
ing, working, has prompted me to a message of
what f hope will be practical help to those of you

June Lang, in the first act of a play to-
ward nicer eyebrows. June thinks al
brows improve with a mild tweezing of
the outer ends, and advises first the ap-
plication of cream to ease the operation
or compresses wrung out of hot water
or skin tonic

/\\ the beauty

-icks of all the PHOTOPLAY'S HOLLYWOOD

""w:i BEAUTY SHOP

y)u eac

Conducted
By Carolyn
Va n Wy ck

(Jo read my department and write to me. Your
tiers are especially significant. A desire to be
kelier, to correct your small physical imperfec-
I ns and to make an effort to do so. For even that
Iter takes some of your precious time.

There is a keen feeling of skepticism in the world
i lay. We have seen the ideals and standards that
v were taught to believe in crumble. People and
lings have failed us, so that we hardly know what
i believe anv more. I think this sense of skepti-
cm applies to many of us in many ways, so it is
i h an effort to give you a straight story on your
llrsonal appearance and physical growth, as relates
fthis angle, that I sit before my typewriter now.

iW'ithout the many aids that we have developed
t' promote good looks, we should certainly all be
ft less attractive than we are today. Thirty-five
\iirs ago, the girl of twenty-five usually looked
tenty-five or more. Today it is difficult to guess
Aether a trim figure is actually twenty-two or
lirty. The modern woman seems to gain her full
(Jarm around forty.

The reason for this welcome change is perhaps,
tfet, a different attitude toward age. And, second,
tp sensible care that we have been educated to use
\jth ourselves. I feel that the years from sixteen
c should bring new and better growth, both in-

the interest of lovely hands, June
ng works conscientiously. June
;Ows that a nightly application of
tide cream or oil prevents hangnails
d flaking, broken nails, and encourages
: new growth to be smooth and flaw-
less under lacquer

A typical Antoine of
Paris idea. Several
layers of muslin, a
handful of pins, a
rosebud or two be-
neath the chin, and
Cecilia Parker looks
charmingly ingenue
in a babyish bonnet
for evening. Can be
made by yourself in
no time

Antoine's sculpture
curls on the head of
Muriel Evans.
Movement is up-
ward, in the ap-
proved style, and in-
teresting design is
worked out here and
there with unusual
curls in a true An-
toine manner. A
party idea

Phyllis Brooks posed
in this complete
series of coiffure pic-
tures to give you a
pattern for your own
hairdresser to fol-
low. Here is a sit-
uation we've all
been through! Not
much to look at now,
but just wait

Mel Berns designed
this arrangement for
Betty Grable, named
it "Petite Coiffure."
Across the page is a
better view of the
hair ribbon vogue,
of which Ho fly-
wood has long been
an ardent sponsor for
the young girl-

Two poses of Phyllis that show the details of both sides and top design.
Innumerable tiny invisible hair pins hold waves and curls in place for the
dryer. Important steps in the achievement of a coiffure known as
"American Beauty," so named because John LeGatta, famous artist, con-
siders Phyllis one of the truest types of American girl

wardly and outwardly. And so I proceed with some actual growtl
facts that should encourage every one of us to some effort and patience
Most of us will make the effort but when it comes to patience we fal
down. We should like to find the cream that will transform us ove
night; the hair tonic that will instantly give us silken hair. Well, then
just aren't any, and lacking these magic aids, many are inclined t(
give up. However, if you can make that effort and bolster up youi
patience besides, here are some of the transformations that can taks
place over certain periods of time.

The life of an eyelash has been estimated at between three and foui
months. Each lash probably lasts about that time, at the end of whicl
it falls out and another takes its place. If you are not satisfied wit!
your lashes, and few of us are, the modern growers will help you tc

produce a much more satisfactory crop
In fact, I think every girl should use a
grower nightly. Growers cannot, ol
course, produce lashes entirely unnatural
to your type, but they can encourage a
heavier growth, longer, stronger and
silkier hairs. If you would use a grower
steadily for six months, you would see a
pleasing improvement.

The same idea applies to brows. If
your brows are scanty, scraggling, you
can induce heavier ones and you can train
them to grow in a neat line. A little
grower on an eyebrow or dry mascara
brush applied nightly not only makes for
more brows but will definitely train them:
in line. Then, of course, you will need to
use the tweezers sparingly, just as June
Lang is doing, to make that line perfect.
The end is usually the unruly area. K
you will apply a little cream first, then
shape, it will be quick and almost pain-
less. Hollywood has taught us that the
brow that extends a bit beyond the outer

From this back view of Phyllis' head, plastered and persuaded into a
curious pattern, will come a revelation in soft loveliness, witnessed by
the finished front picture. Notice that the hair is kept well off the face,
softened only by loose, big waves, with all the intricacies kept well to
the rear. An important hair fashion note to keep in mind

:<jier of the eye is a universally becoming one. It extends the upper
vJth of the face to create the impression of more oval lines to the
(ler part of the face, and it adds much expression to the eyes. The
ustant use of grower on the outer brows will grow new, fine hairs in
ike. For immediate need, however, your finely pointed eyebrow
»cU solves the problem. With a very light stroke, because even
»ws here will be lighter, extend the brow line a tiny bit.
ikin growth occurs daily. With every bathing or creaming, we not
Jy take away make-up, oil and dust, but a certain amount of dead
" icle is also removed. And usually it is this dead cuticle, more than
i|imperfect texture or a small blemish, that mars your beauty sooner
In anything else. For this dead cuticle is usually dull in tone, and
c,?ps your face from looking radiantly fresh. A very thorough cleans-
i{ is about the greatest skin beautifier
■•re is. The Hollywood stars have solved
t cleansing method about as perfectly
it can be solved for normal skin. First,
ij;ood cream cleansing to remove make-
'. Then a good bathing with soap and
Iter. Finally, much rinsing in very cold
■iter or the use of any favorite skin
ion. You are bound to be spotless after
;it. Certainly a cream which melts and
.solves your rouge and powder is easier
f removing make-up. And certainly
! s extra-thorough use of soap and water,
th which you produce friction through
. of hand, cloth or complexion brush
i only cleans but removes that cuticle
iiich is daily shedding.
If your skin is very dry and you suffer
i>m the frequent use of soap and water,
?n balance your cleansing routine, per-
;ps soap and water every other day or
, ice a week. When you have cleansed
;th cream alone, give yourself a friction
b. With a [ peease turn to page 100 ]

Only clever fingers
and great patience
can produce a mas-
terpiece of hair-
dressing like this.
But the effort is well
worth the result for
a coiffure like Phyllis'
con tri butes much
style and charm to
most faces

Details of the tiny
tailored bows that
hold Betty Grable's
curls. These with
your daytime clothes,
but for evening vel-
vet or lame ribbon is
the thing, contrasting
with or matching
your dance frock.
Very girlish!

<!<!

Cast and crew of Columbia's "Passport to Fame" stop work for their four o'clock cup of oolong. Eddie Robinson
is pouring tea for Director John Ford. This is only one English habit American stars brought back

Awfternoon" Tea

are now

I SAY, old thing, have you
heard the news? Holly-
wood— chummy old place,
don't you think — has gone
English. My dear, it's too jolly
and all that sort of thing. I say,
what?

American actors have been
flocking to good old Lunnon —
nice old spot, Lunnon, rath-er —
and by Jove, they've brought
back with them all sorts of cozy
little English habits and customs and well, here we are. Stalk-
ing about like a retired British officer with a load of asthma and
a yen for suet pudding.

Good old Americans, who never drank anything but strong
coffee and applejack straight, are now hoisting tea-cups, eating
watercress sandwiches and loving it. Nobody hurries anymore.
Nobody hustles. Nobody shoves. And fancy anyone shoving.
Everyone, British-like, just takes his time. No need to go
scampering about good old Hollywood-on-the-Downs. Tisn't
British and all that sort of thing.

Yes, dear old Hollywood-
on-the-Downs has gone so
British, the best of stars
hoisting tea cups

By Jane Hampton

Actors who once raced across
movie lots like hound-chased
rabbits (and ofttimes it was the
sheriff instead of a hound) now
saunter, calling a merry old
"Cheerio there," as they go.

The only "pip" America ever
knew before the return of the
Americans from England was a
disease which, unfortunately,
but through no one's fault but
their own, and let that be a lesson
to them, gave a chicken the yaps. A couple of pips were simply
two chickens with the yaps. But not now. My dear, you're far.
far wrong if you think "Pip pip" has anything at all to do with
a couple of ailing chickens. It's now Hollywood's favorite form
of saying, "Farewell, a fond farewell."

Actors no longer say to their lady-loves, "Darling, good-
night. The dawn breaks and so does my heart at this sad part-
ing. Farewell, sweet one, farewell."

Today he merely says, "Well, pip pip old thing," and leaves
the lady yapping like a chicken. [ please turn to page 98 \

Here's the Standard for Beautiful Legs and Feet

Listen, you babies, watch that lump of fat
i the inside of the knee. It will spoil your
lances of beauty in a bathing suit. Lots of

rls ask me what to do about knock-knees.
[aM the time it isn't the knees that are
nocking; it's those lumps of fat on the knees,
errible! The calf of the leg should be well
junded but not muscular.

You girls with over-developed calves — it's
fie escalators for you. Don't climb steps!
)on't tap dance! Don't ride bicycles! Don't
o any kind of Russian dancing! But you
ids with canary bird legs can do all of these
flings. These things develop. They do not
■educe. But I've got the perfect reducing
xercise for the lower legs, calves, ankles and
:et. I've never given it before. Are you ready?

Sit flat on the floor with your legs straight
ut in front of you, the knees straight and
our toes pointing to the ceiling. Place the
alms of your hands on the floor slightly out
rom your sides. Slowly raise yourself up with
our weight on the palms of your hands.
Is you do this slowly point your toes away
rom your body so that your legs from hips to
oe are in a straight line. Raise up higher
mtil your whole weight is on your hands and
rour heels. Can you feel a pulling in your
egs? Can you feel the fat breaking away
rom that lump on your knees?

[ CONTINUED FROM PAGE 57 ]

Just as slowly — and keeping as relaxed as
possible — lower yourself to your original
position, move your feet so that the toes are
pointing toward your face and at the same time
make believe that you're trying to push some-
thing heavy with your heels — push the heels
in the opposite direction from the way the toes
are pointed. Don't be afraid to pull and pull
hard. Do this until your toes are pointed just
as far as they'll go. When you feel that big
pull in all the fat spots, you're on the way to-
ward having perfect legs.

"DUT that's not all. You've got to have
lovely upper legs, too. Look at Gertrude
Michael — -and that's not a bad idea. You re-
member her in "Cleopatra." The upper part
of her legs are beautiful and I don't blame her
for posing in photographs to show them.
They're slender with no bulges, no bumps, no
protruding muscles. The upper leg is a place
where fat is most likely to gather. Fight it!
You've got to, because those lumps show when
you're dressed. And in a bathing suit! I can't
stand it! Get rid of that fat on the front and
back of the upper leg. Here's the exercise.

Stand a little away from and at right angles
to the back of a chair. Put your left hand on
the back of the chair. Stand on your left
foot. Lean over at the waist. Put your right

hand back of you. Lift your right leg back.
Grab your right ankle with your right hand
and pull it up toward your back, bending the
knee. Pull hard. Ouch! Yell if you want
to — but do it! Stoop over as you're doing
this. Now let go your ankle and swing the
right leg forward and grab your ankle with
your right hand in front of you this time.
Keep your knee slightly bent. Pull hard.

That's a new exercise, too, but I want to
warn you, as I do with all my exercises, relax!
Relax your muscles while you're doing the
exercises. For if you don't, you'll develop
muscles instead of reducing them off as you
should. Oh yes, when you've done this
exercise on one leg repeat on the other. But I
hope to heaven you've got the brains to do
that without my telling you.

Okay, babies, there you are — Gloria's feet,
Joan's ankles and lower leg and Gertrude's
upper legs. They're perfect and there's not a
reason in the world why you can't have them
just as beautiful. Don't be lazy. Don't put
off. Do what Sylvia tells you to do. And
while you're exercising stick on the diet wagon.

And now I've gone and used up all my space
and haven't told you how to have lovely arms
and hands. So watch out for my article next
month. I'm setting the standard for arms,
hands and backs!

Answers by Sylvia

Dear Sylvia:

I'm only fifteen but I'm terribly fat. Be-
:ause of this I don't have dates like other girls.
My mother tells me not to worry, that I'll
outgrow it. But I do worry and outgrowing
t doesn't help me now. I'm writing to you
with the hope that you'll help me.

B. G., Fort Smith, Ark.

I feel so sorry for young girls whose mothers
'tell them they will outgrow fat. Maybe they
will, but fat isn't pretty and every fifteen-
year-old girl wants to be pretty. Besides, fat
isn't good for anybody, whether that person
is fifteen or fifty. Now I know that my exer-
cises and diets are just as good for young girls
as they are for older ones. But, you'll ask me,
how am I going to convince my mother of
that? I'll tell you. Send a self-addressed
stamped envelope to me for my general re-
ducing diet and exercises. Then ask your
mother to take them to her doctor. Then, if he
says they're okay she'll believe him. And
here's a little secret, baby. He won't dis-
appoint you, because doctors all over the world
know that every one of my diets have enough
food properities for anybody.

Dear Sylvia:

I've tried very hard to follow your diets and
exercises but in my business I travel a great
deal and it is often difficult in trains and hotels
to get what you recommend. Is there anything
I can do about it?

H. R. T., Chicago, 111.

You bet there is ! There is always something
to do about everything. And I know that

ARE you too fat? Too lean? Have
you any physical defect that
mars your beauty? How are your
nerves? Do you sleep well? I shall
be glad to offer you advice — free of
charge — of course. All you have to
do is write, enclosing a stamped, self-
addressed envelope. Address Sylvia,
care of PHOTOPLAY Magazine, 1926
Broadway, New York City.

when traveling it is difficult to stick on the
diet wagon, but here are some things you can — -
and must — do. Don't eat just what is put
before you. Watch out for rich sauces. Scrape
them off the vegetables. Refuse dessert unless
it is mentioned in one of my diets. Maybe
you can't get as many raw fruits as I give.
But you can always get apples! And tell
yourself that you are going to try your hardest
to overcome your difficulty and live up to my
routine as nearly as you can.

Dear Sylvia:

I have very thin scawny legs. I don't want
to be fatter than I am anywhere but in the legs.
Can you give me some exercise to help me?
Mrs. R. L. T., Raleigh, N. C.

Tap dancing develops the legs. Climbing
stairs is another wonderful leg developer. But
the best of all is riding a bicycle. If you can't
actually bicycle then lie on the floor on your
back with your legs in the air and make vig-
orous movements with your legs as if you were
pedaling and pedaling hard and fast. Do this
for three minutes a day at first and then work
up to ten or fifteen minutes a day. You'll be

surprised how quickly your legs will become
nice and firm and round, as perfect legs should
be.

Dear Sylvia:

Will you tell me how to remove a lump of
flesh that has come on the back of my neck at
the top of my spine?

Mrs. D. C, Jeffersonville, Ind.

I call that the "old woman's bump." Now
don't tell me you're just twenty-five. You
may be. But hot or cold, that's an "old
woman's bump." You got it by slumping.
Well, stop that. Straighten up. Don't
slump any more. Then take this exercise to
remove it. Lie on your back. Arms above
your head, backs of hands lightly touching the
floor. Relax completely. Stretch your arms
so that you feel as if your shoulder blades are
coming together. You can feel that back lump
moving. Now then stiffen your knees and pull
yourself forward with your arms still above
your head until your head is touching your
knees. Keep relaxed from the waist up.
While your head is on your knees make your
shoulder blades squeeze that bump. From this
position roll back, rolling all the way along
your spine and touch your toes over your
head, with almost the entire weight of your
body resting on that bump. You can feel it
smashing off. At first you may be stiff but
keep trying until you can do the exercise.
Start roiling back and forth like that ten
times a day. Work up to twenty. I guarantee
that it will do the trick and exercise your
diaphragm, hips, legs and upper arms to boot.
How's that for you?

" fETTING home with the milkman" is an
^Jold saying but it actually happened to
Jean Harlow. On her way home from visiting
her friends, Jean's car came to a dead stop on
a lonely highway. She had run out of gas.

For hours Jean sat there waiting for someone
to come along and yet frightened that they
would. At last, after what seemed years of
waiting, a milk wagon hove in sight. With a
welcome cry, Jean hailed the driver and went
merrily home on the milk wagon.

A FTER Leroy Prinz, the Hollywood dance
•'^'director, fought that famous duel, and his
wife sued for divorce, someone asked, "On
what grounds?"

"Because he led a 'duel' life, of course,"
was the reply.

•""THERE is a writer in Hollywood who is
frankly worried. He has to kill a friend
and certainly loathes the job. You see, when
it was decided that Dashiell Hammett should
write a screen sequel to the popular "Thin
Man," it was found that one of the number
would have to be killed off in order to form a
plot. But, who to kill was the question.

The author has become so fond of all his
characters, he can't bear to commit the nec-
essary crime. As you can imagine, every
member of the original cast is anxiously wait-
ing to see if he will be the victim.

Hollywood, at least, hopes the dashing Bill
Powell, the lovely Myrna Loy and the adorable
little dog, Asta, will be spared.

/^\NE day a carpenter on the set of "The
^uood Fairy" missed his bicycle.

The next day the Universal lot was treated
to the spectacle of their problem child, Mar-
garet Sullavan, reeling furiously about the
studio on a rickety bike.

"Five miles every day," said Margaret,
"that's the schedule."

She wears an amazing pajama ensemble con-
sisting of green, floppy pants and a red coat,
and stops for nothing.

P. S. — The carpenter got paid for the
vehicle.

Cal York Announcing the Monthly

"DOB MONTGOMERY smiled.
"^ They had just told him of his
role in "Vanessa," the Hugh Wal-
pole novel before the cameras at
M-G-M. They had further told him
that in the prologue he would play
his son, in the main body of the pic-
ture, himself, and in the epilogue his
sixty-five-year old grandfather.

"The part of my dreams!" said
Bob. "A nice part you can really
grow up with!"

/"''LARA BOW and Rex Bell made some well-
^^advanced plans for the heir-apparent. Rex
just couldn't resist the temptation to buy a Shet-
land pony. He had a beautiful little silver
mounted saddle made, and the pony is quar-
tered in the patio, bedded down in straw — all
ready to leap on and away-we-go. Of course,
the pony will probably be an old man with a
long grey beard before the baby can ride — but
anyway, it's a cute idea.

CHIRLEY TEMPLE has decided to stay out
^of department stores and all other public
places, since an over-enthusiastic fan snipped
off one of her curls the other day.

A RE any of you the facetious admirers who
send George Brent's mail to Ruth Chatter-
ton's house? Because George and Ruth and
Warner Brothers are quite burned up about it,
and George has reached the place where he
doesn't even think it's funny.

VITHATEVER secrets Josef Von Sternberg
^^ has about directing Marlene Dietrich are
safe.

Even the small crew which officiates when he
makes a picture are in the dark about half the
time.

Josef gives all his directions to Marlene in
German — and no one else can understand it.

Director David Butler was pretty sure of beating Jimmy Dunn in the

checker game, when along comes Shirley Temple and slips a bit of advice

to her pal Jimmy on how to make a strategic move

[ CONTINUED FROM

T DON'T know whether Adolphe Menjou

would approve of them, but Allen Jenkins
thinks they're a sartorial gift from heaven.

His slippers.

Allen hurt his toe a few months ago, and
gave up shoes for slippers. The slippers were
so easy on his feet that he tossed all his ox-
fords into the attic.

Now he has black slippers for evening,
brown ones for street wear and even patent
leather ones for dress. Not to mention the
old broken down pair he wears around the yard.

And no worries about a broken shoelace.

V\ 7E might have expected it of a younger
actress but when Alice Brady suddenly
disappears right in the middle of " Gold Diggers
of 1935" and leaves Warner Brothers wildly
searching Heaven and earth for two whole
days, it's a little unusual.

What's more, when she finally did show up,
Alice refused to explain anything. Where she
was and what happened, she inferred, was her
own business.

But it's all very romantic to Hollywood —
not to say surprising.

"pVERY year, it seems Hollywood has been

getting farther and farther away from itself.
It used to be quite satisfied with just Holly-
wood— then the stars began moving to Bev-
erly Hills, then Brentwood — then away out
in the San Fernando Valley.

They commute, of course, to the studios.

But now Genevieve Tobin has moved into
her home at Montecito, the very elite section
of Santa Barbara. She is just a little more
then one hundred miles from the studios — and
she intends to commute.

Meaning she'll leave the seaside city at
five bells or earlier in the grey and misty
dawn — to make an eight o'clock call.

XJARGARET SULLAVAN tripped blithely
V off the set of "The Good Fairy" a few days
ago. It was noon time and she was hungry.

So she hopped into her decrepit roadster and
started the engine. She let out the clutch.
Nothing happened. She stepped on the gas.
Maggie and the motor roared, but nothing re-
peated. She fooled with the brake and really
got all hot and bothered.

Then she looked out and saw her set play-
mates— the grips and the props and the juicers
— rolling on the ground.

Margaret hopped out to find the rear wheels
spinning in the air. Jacked up. It's an old
gag, but it worked.

JANET GAYNOR and Shirley Tenple were
both being fitted for costumes in the ward-
robe department. Janet asked Shirley for that
autographed picture she promised her, and all
the girls in the department chimed in and said
they wanted one, too.

"You can all have one," said Shirley, "but
you'll have to wait awhile. I can only sign two
a day because it takes me so long."

HpHE mama of little Anne Shirley, who made
such a hit in "Anne of Green Gables," care-
fully censors her daughter's romantic flutter-
ings. Anne is so popular that mother had to
call in an assistant to get the front door-step
cleared by ten o'clock. The lad she called
upon was young Henry Wilson — and Henry
has a crush on Anne! "A pleasure," said he.

broadcast of Hollywood Goings-On!

GE 51 I

kND the Gloria Swanson-Herbert Marshall
tete-a-tetes continue.
However, when Gloria and Herbert under-
lie an evening in public at any of the smart
arcing spots of Hollywood, they invariably
ek a shadowed nook with an obscure table.
Which, of course, makes people all the more
i the look for them— and all the more excited
nout seeing them together.
i

ipHERE'S something about radio broadcast-
ing-
It's just a strain on the nerves, even to

iasoned troupers.

Ever since I've been broadcasting news and
iterviews with the stars of "45 Minutes in

ollywood" each week, I've had numerous
ises of vacillating knees.

But now I feel all right.

I have it on good authority that Mary Pick-
ed almost cuts her reading sheets to pieces
latching them tensely each week when she
'ives a skit over the air.

If it makes Mary all hot and bothered, why
houldn't I be embarrassed?

3 UMORS that Margaret Sullavan and the
•Studio which made her a sensational screen
tar, Universal, were at the parting of the ways
/ere somewhat dampened down when she up
;nd married Director William Wyler.

Film mentor Wyler, who, by the way, is one
I the very best directors at Universal City, is a
elative of the Laemmle family, who run the
vorks at Universal.

A MAZING new romantic combinations
<*-have been springing up all over Hollywood
'ecently. For instance, the Carole Lombard- .
Job Riskin twosome has given a surprise to the
ustomers at the recent prize-fights and local
light clubs.

Edmund Lowe has been squiring the lovely
"irginia Bruce (ex Mrs. John Gilbert) here and
here. Also Florence Rice.

Pat de Cico and the lovely Genevieve Tobin
lave been taking in the sights together. And
;he biggest surprise of all is Norman Foster's
mdden escorting about of several of the local
jeauties.

1 Which has everyone wondering just what
Tlaudette Colbert thinks about it.

A DOCTOR, visiting Cecil De-
■"■Mille in the hospital just before
Cecil began work on "The Cru-
saders," was shocked to see a
strange, iron figure in a corner.

"What is it?" he demanded.

"It's only me," a little voice called,
"I'm the nurse, Mr. DeMille wanted
me to try out the different armor for
his new picture."

CVERY day, it seems, Virginia Bruce gets
lovelier and lovelier — and every day she be-
comes more and more positive about the im-
possibility of a reconciliation with Jack Gilbert.
Putting the two together, it's no wonder that
Virginia is the object of several Hollywood
swains' attentions. No one yet has pried into a
definitely romantic arrangement, and, of
course, Virginia just smiles that slow smile.
But she's been seen out with Billy Bakewell
and Edmund Lowe both, a few times of late,
! Nelson Eddy also is said to be strongly in the
running.

T YLE TALBOT is still wondering.
"*-"' Recently Lyle asked a friend if
he thought it bad luck to postpone a
wedding.

"Not if you keep on doing it," the
friend replied.

T OIS WILSON will leave all predictions to
Gene Dennis, who does pretty well by
them, after this —

Many, many months ago when Lew Ayres
looked into Ginger Rogers' eyes and gave her a
funny feeling around her heart, Lois said —
"You'll never marry him."

"You'll receive the first wedding invita-
tion," replied Ginger.

And Lois did. What's more, she swooped
up the bridal bouquet when Ginger tossed it.

A behind-the-scenes view of a shot from "The Little Minister." Katharine

Hepburn attends John Beal after his serious injuries. Director Richard

Wallace, kneeling, cameraman Henry Gerrard, and Marty Offner, dialogue

assistant, are watching

FAY WRAY left for Europe several days be-
fore John Monk Saunders' birthday. Birth-
days are always state occasions in the family,
so Johnny obligingly moved up the date, and
they had a breakfast-birthday party, with all
the presents served with the coffee.

HTHE latest Hollywood behind-the-scenes-
■*■ drama in three acts: (and it's a true one).

W. C. "Bill" Fields was going through a
scene. In the middle of his antics the camera-
man yelled— "Cut! Re-loading."

Bill fiddled while they loaded the camera
with film.

Another take, and in the middle the sound
man shouted, "No good — sound re-loading."

They set up for a third take. The director
looked around. No Bill anywhere in sight.
Shouts re-echoed up and down the stage.
"Bill— Bill Fields. Hey— we're ready."

There was a brief silence, and then from a
far, obscure corner of the vast building sput-
tered a moist voice —

" Fields re-loading! "

"Y"OU'D never suspect an abundance of the
■*■ maternal instinct in Carole Lombard per-
haps, or perhaps you would, but I happened
to be in her dressing room the other day when
Arline Judge came by with that cute youngster
of hers, Charles Wesley, and proceeded to fill
the room with " Oohs" and " Ahhs" contributed
by all present. When the tot and his pretty
mother left, Carole sighed wistfully.

"Darn it," she said, "I'll just have to get
married and have one of those."

f\F course, we do hate to jump at condu-
ctions—

But Jean Harlow certainly played it straight
when a stranger, noting the gallant attentions
paid her by William Powell at a recent big
Hollywood party, smiled sweetly and remarked
to Jean, "What a nice husband you have."

Jean smiled back twice as sweetly.

COULDN'T I please send my car home
and get one that wouldn't attract so much
attention?"

Lilian Harvey put this plaintive plea to her
manager the other day.

The big white foreign car with silver trim-
mings (maybe it's platinum) has been one of
the sights of Hollywood for a year. Lilian
yearns for a little black coupe!

EVERYONE who knows Lilian Harvey is
delighted that she has signed a contract
with Columbia, and has started in "Once a
Gentleman" with Tullio Carminati. Lilian
has had many heart-aches since she came to
Hollywood, and has been very lonely, rattling
around in that huge house she rented. She is
still devoted to Willy Fritsch, but will not ask
him to come over here as he cannot speak
English, and she is afraid he would have
difficulty in American pictures. He is a highly-
rated European star. They are not married,
but Lilian wears a wedding ring just to dis-
courage attention from any one else. Her new
contract has given her back the confidence she
was in danger of losing, and here's luck.

[ PLEASE TURN TO PAGE 124 ]

Photoplay Magazine for February, 1935

„^C ■ '

''■'-,

"-*,..

o* course, i use

COSMETICS, BUT I N€V€R I
WORRY ABOUT COSMETIC

SKIN THANKS TO

LUX TOILET SOAP.

IT'S EASY TO -HAVE A
GORGEOUS SKIN THIS WAy

G/A/G£a

\ROGERS

STAR OF RKO-RADIO'S "ROMJJ

NCE IN MANHATTAN'

Photoplay Magazine for February, 1935

THRILLING words...

BUT NOBODY SAYS THEM
THE GIRL WH
S COSMETIC SKIN

You can use cosmetics all you
wish, yet guard against this clanger
the way the screen stars do . . .

SOFT, LOVELY SKIN is thrilling to a man.
Every girl should have it — and keep it!

So what a shame when a girl lets unattractive
Cosmetic Skin rob her of this charm! It's so easy
to guard against this modern complexion trouble
the way the Hollywood screen stars do.

Cosmetics Harmless if removed this way

Cosmetics need not harm even delicate skin un-
less they are allowed to choke the pores. Many
a woman who thinks she removes make-up thor-
oughly is actually leaving bits of stale rouge and
powder in the pores day after day. Gradually the
pores become enlarged — tiny blemishes appear,
blackheads, perhaps. These are the warning sig-
nals of Cosmetic Skin.

Gentle Lux Toilet Soap is made to remove cos-
metics thoroughly. Its rich, ACTIVE lather
sinks deeply into the pores, gently removes every
hidden trace of dust, dirt, stale cosmetics.

Before you apply fresh make-up during the
day — ALWAYS before you go to bed at night,
protect your skin with this safe, sure care 9 out
of 10 screen stars use!

To guard against unattractive Cosmetic
Skin, thousands of girls all over the
country are adopting the screen stars'
complexion care. The ACTIVE lather of Lux
Toilet Soap removes cosmetics thoroughly
— protects the skin, keeps it lovely.

He Failed for a Million

tumes for the chorines and at every perform-
ance they made Pat sneeze. Besides, he rea-
soned, what right had a chap who'd hauled
lumber and nursed a sixteen-inch death-
speaker to be doing fancy steps for a living?
Consequently when Wisconsin announced free
tuition to ex-service men desiring higher edu-
cation one Patrick O'Brien was the first to
register. He had arrived home on a milk
train, none the worse for a two-day diet of
carrots.

"What course are you taking?" asked the
secretary at Marquette University. Pat
flipped a coin. "Make it law." He had
divided between that and engineering. Pat
mixed in some football with the law and licked
Notre Dame practically single-handed.

Then he made the mistake of going into a
class play. The stage germ worked. It worked
so hard he couldn't sleep nights. Law was
definitely out. He convinced the state's repre-
sentative that War Veteran O'Brien should
be in the Academy of Dramatic Arts in
New York.

T) ACK in New York Pat starved like a gentle-
man, studied like blazes, and stalked theat-
rical agents.

There were two excellent reasons why, early
in 1923, our Mr. O'Brien returned to Milwau-
kee. One has to eat occasionally — and the
other was a desperate major cardiac disturb-
ance known as "young love." She was a
blonde. She was lovely. And she had been his
sweetheart from childhood. Pat — for the
second time — turned his back on the stage
forever. Substantial Young Bond Salesman
was the role he set himself to play. And it was
probably the worst performance Pat O'Brien
ever gave. . . .

The O'Brien sales fell to zero as he grew
more and more bewildered and unhappy. And
somehow the romance had faded out. There
was no glow left in the world. It was funny
how often Pat's feet carried him to the door of
the stock company Jimmy Gleason had. A
friend cornered him one night and tucked a
script under his arm. "Listen, Pat. This
'Under the El' is a great play. We're going
to try it out here and that part suits you to a
T. Just read it!"

"Nope," muttered O'Brien. "I'm through
with the stage. It's no go." But he sat up
the whole night reading the play, going over
the lines. . . .

It was his father who settled it. The kindly
old man, with eyes that once had been as
fiercely blue as Pat's said, "Why don't you
quit kidding yourself, boy? The theater's in
your blood. Now there's that old insurance
policy for a thousand that I took out for you
when you were ten. Borrow on it, get back to
New York, and slick it out!"

It sounds like manufactured fiction, this part
of Pat's story. But here is exactly what hap-
pened on the blizzard-swept night he landed in
Manhattan with $5.45 in his pocket. He had
borrowed only enough to get him there. After
that — well, he was going into the clinches with
old lady luck and one of them was going to
give in! This time it wasn't Pat. . . . He ran
into an old classmate of his from the Academy
of Dramatics who was throwing a party.
Around midnight a short, stocky fellow he
hadn't suspected of being Good News, drew

[ CONTINUED FROM PAGE 43 ]

him aside. "There's a chap leaving the cast of
'A Man's Man' tonight. Why don't you go
down and see about it in the morning?"

"In the morning!" shouted Pat. "I'm on
my way now!"

It was bitingly cold in the darkened theater
but rehearsals were still going on. "So you
want that part, eh?" said Eddie Goodman,
the director. "All right, go down there and try
it ! But remember tin's is Saturday and we open
Monday and you'll have forty-eight sides to
learn."

"That's all right. I know this play — every
line of it."

" You do? "

"Sure. I read it," Pat told him, "when it
was called 'Under the El'. . . ."

Coincidence? Or the special brand of
O'Brien magic? A few months later it worked
again — to furnish Pat with the biggest moment
of his life.

He had been travelling with the road show
of "Broadway" and the producers sent him a
wire to join the Chicago cast. At the same
time, they sent a girl there who was beautiful
and something more. Valentino had selected
her as the most gorgeous girl in Iowa. And
when young Mr. O'Brien saw Eloise Taylor he
went the great screen idol one better. He
selected her as the most gorgeous girl in the
world. . . . His. . . .

But it wasn't to be a whirlwind romance.
It took Pat five years to catch up with her!
They played in stock together, on the road, on
Broadway. More often than not they were
broke together. A couple of kids joy-riding
through poverty.

But you can't get married on nothing. They
were on a vaudeville tour. And because they
were tired of waiting and tense and nerve-
jangled they quarreled. Bitterly. And sepa-
rated.

"If you ever want to see me again you can
write," said Eloise.

"The same goes for me!" said Pat.

T_TE stuck it out as long as he could. Then,
while he was playing Baltimore, he poured
his heart out to her in a letter and airmailed it
to her address in Worcester. No answer. Weeks
passed. Months. He went to New York. It
didn't matter that he was credited with one of
the ten best performances of the year as the
Russian communist, Maxim, in "Overture."
Nothing mattered.

But Fate was up to her special tricks re-
served for O'Briens. One morning Pat received
the charred fragment of an envelope with a
note from the government saying this was
what was left of his airmail letter. The plane
had crashed, burned . . . the pilot was killed
. . . They were returning the remains of the
letter for his records. . . .

Pat made a record of a very particular nature
in getting to Eloise with that burned bit of
paper. Together, very close together, they
went out to have it framed.

At first Pat couldn't believe his ears. The
operator said Hollywood was calling. The
United Artists Studio. And he heard Howard
Hughes' soft Texan drawl over the wire.
"O'Brien, how about doing the role of the
reporter in 'The Front Page'? "

Pat arrived in California at 8 A.M. and at
ten he was working. Before the picture was

half through they knew they had somethin;
A sensation. Pat sent for Eloise and at th
same place he and Mary Brian got the'
marriage license in the picture Pat bought hi
real license.

They hadn't counted on such a honeymooi
Pat had been sent East almost immediately t
start work on another picture with Nanc
Carroll. And there was a six weeks' dela>
And the studio that had refused him bit part
so often was now paying for his royal suite a
the St. Moritz! Pat and Eloise walked abou
in a dream — down streets where a bare si
months before they had been so broke ye
eager and hopeful. Now a corsage of orchid
waited for Eloise daily. And Pat had the satis
faction of smoking the studio's finest cigars.

For the first six months they couldn't handl
their money. They returned to California am
decided to bring both families out for Christ
mas. "We'll long distance them instead o
writing," grinned Pat. "We're big shots now!'
They bought drawing rooms for their folks
arranged for them to meet in Kansas City—
and when Poppa O'Brien stepped off the trail
he was wearing spats! "Got to do you proud
son," he whispered as Pat grabbed him. It wa:
an almost hysterically happy three weeks
They journeyed to Agua Caliente — in tw<
cars! The old gentlemen played the horses ant
Pat paid the bills. They had a bungalow t(
themselves at the Biltmore in Santa Barbara
The O'Briens were in the money!

"D UT by a strange anomaly that could occui

only in Hollywood, Pat O'Brien then droppec
out of sight from the rank of top notchers
After that first big production there had beer
a delay— then a poor production. The lead
ing producers could see Pat only as a reportei
—and the newspaper story cycle was over
To most people it would have meant fade-out
To Pat it meant — extraordinary financial sue
cess. He went cheerfully from one fifth rati
picture into another. Pictures that were "shot
on the cuff," yet they spelled good money
Pat was saving now. He kept at it for nearh
four years. And during all that time wher
nobody heard of Pat O'Brien, he made enougt
money to retire for life!

He bought a fifteen-room Beverly Hilk;
mansion with a swimming pool, badminton
court, handball court and an outside barbecus
that is a replica of Bill Hart's. He had more
cars and servants than the better known
"names" around him. What's more, he had a
good-sized trust fund. And out in San Bern-
ardino, Pat purchased a ranch for his wife's
people. His own parents he brings west in
royal fashion for seven months every year.
Sometimes it pays to be a "failure!"

When he felt he could afford it he went after
the real parts. And got them. But he took a
salary cut of five hundred dollars a week just
to get a chance at them — and a contract with
Warner Brothers. Even now, with the bril-
liance of "Here Comes the Navy" and "Flir-
tation Walk" and other successes behind him.
Pat's income will not come up to his free lance
standard until next option time.

"Sure I've got a grand philosophy for this
business," he'll tell you. "I explain to myself
that every picture is my last one!" Maybe
he'll be teaching it to the littlest O'Brien-
Margaret Mavourneen, aged eight months."

Photoplay Magazine for February, 1935

Marion Davies
Secret of Success

[ CONTINUED FROM PAGE 53 ]

man, as well as herself. It's possible

U find their security can be increased

i ting out and taking a job. But now

> should have a different meaning than it

It] have had before marriage.

'in — I know you're going to ask me, 'Can

i an successfully manage both a career and

i tge?' Yes, she can, if she doesn't let her

I ipse her marriage. But the examples

• mparatively few, if you refer to women

i tl xtravagant ambitions. You want a short

lon't you? Not a volume. All right.

career girl takes it on the chin more

<- and a lot harder, than the girl at the

11 low cook-stove. She's confronted by

li:s so infinitely much bigger and more

ii ated. Even in this day and time, she is

ainst a man's world. The other way, one

3 her world. And the women the career

rl bmbats are more determined adversaries.

IS hink of all of the thousands of girls who

of into Hollywood, all trying to rush into

mall opening that points toward success.

. y business, it's the same — in proportion to

i| tunities. What chance has the girl who

■conciled herself to a bruising and

itfring of spirit? What hope is there for the

il '.ho has underestimated her abilities?

. ie it's cruel, but it's woman's lot to make

0 of the sacrifices on this earth. One who

u survive them is just out of luck.

, ND when a girl has decided what she

.wants to do, she should study, study,
ITJY, to prepare herself. She must be com-
eifit to take full advantage of opportunities.

life is so freakish that opportunities some-
n's present themselves to women who are
n epared. But how long can anybody ride
n ie crest of luck alone? If a poorly equipped
i an inherits money, it isn't long before her
ers, and some other smart people, get most
f away from her. Well, a woman who can't
e house — whether her job is to make a
u!;alow charming, or to manage an estate —
, 't in a very good position to hold a husband,
lincapable woman who gets promoted in
i ness is just accepting her walking papers.
. 'rl who tries to be a secretary and makes a
ll of taking dictation is such a derided
rture that she can have no self-respect. And
('can't name me one actress in the movies

' ever got a break, and held on, who wasn't
i ified to keep her position. Well, can you?

Ed. note: No, not for long. There's always
lJ box-office, you know.)

\nd I don't think any woman should stop
I'tudying just her job. Do you know any-
! g more boring on earth than the housewife

■ can talk nothing but ways to feed her

1 dren? Or the social worker who speaks of
ling but playground improvements? Or —

; greater horror still — the actress who can
i you of nothing but what happened on the
■[today?

' It seems to me that we are here on this
|:h to grow into the best sort of human
>!igs we can, with all due respect for the com-
j and properties of other human beings. I
I 't know any other one rule that covers the
j ie better than that.
Nobody but a psychopathic case is anti-
ial. Nobody but an anemic person, physi-

To prevent this!

Insist and see that clean, fresh
pads are used on your hair!

Don't take chances with your hair.
The risk is too dreadful; the
penalties too severe. Falling hair,
scalp infection, loss of lustre
and hair vitality are a high
price to pay for any permanent.
All too frequently they follow
the use of improper materials
and the alarming practice some
shops employ of using the same
pads repeatedly, thus transferring
hair and scalp disorders of an-
other woman's head to your own.
Most women are unaware of such

things but Nestle feels that the
facts should be known. For Nestle
is thoroughly protecting you
against unsanitary and danger-
ous waves. To those beauty
shops guaranteeing the use of
genuine Nestle materials, Nestle
has issued a certificate that
readily identifies them as a
Licensed Nestle Shop. Look for
it when you enter a beauty
shop. It is your assurance that
sanitary conditions in permanent
waving prevail at that shop.

THE NESTLE-LE MUR COMPANY • newyork

SEE The Nestle name on the foil
cover of the felt pads and bottle of
waving lotion— your assurance
of fresh and genuine materials.

LOOK for the Licensed Nestle
Beauty Shop with this Certifi-
cate. It is your guarantee
of a genuine Nestle Wave.

SCIENTIFIC
PERMANENT WAVE

cally or mentally, is unsocial. Normal human
beings are gregarious — and I think the best
way to enjoy life is to make our company
pleasing to others.

"I think the stenographer should read the
professor's book, and I think the housewife
should know enough about modern art, to be
sure whether the reproduction deserves a place
on the wall or in the ash-can. And I think any
actress ought to know who H. L. Mencken is,
as well as how many games the Dean brothers
won in the World Series.

"I never heard of anyone who suffered any
ill-effects from knowing the right people. Talk
about creating opportunities for oneself — I
think an essential part of that program is
making it a point to meet individuals who can
help you. Most girls don't have any trouble
bringing themselves to someone's attention,
but they'd better be subtle about it. And they
should be prepared to meet the requirements of

a new acquaintance. It's silly and selfish and
bad-mannered for a girl to thrust herself in
someone's way if she has no qualities that per-
son could possibly admire. She deserves a
rebuff, and a stinging one.

"I've heard a lot of people say they think
it's unfair for a woman to take advantage of
her charm in making a career for herself. Well,
now don't think I'm defending any woman who
is brazenly unfair in any respect, but if a
woman has charm, I can't see any harm in her
using it adroitly. Nature intended that she
should; worked it all out so she could get along
in this life. A secretary who can't be charming
is a very terrible creature to have around an
office. But being charming doesn't necessarily
mean being a 'vamp.'

"A girl must be efficient in her business, of
course; but the fact must not be obnoxiously
apparent. And that's no discrimination
against our sex, either. It goes just as well for

men. I don't know anything more annoyin
than a man who can't be efficient without a
unnecessary display of bustle and zippiness an
abruptness.

"Politeness is one of the supreme qualities
The human race isn't moving too fast in an
direction for us to think we haven't got time t
be agreeable to the people who deserve it
Politeness requires that the well-informe<
woman should not be windy and boring; tha
the society woman should not go through
lot of ridiculous posing, and that the celebrit
should never lose her graciousness.

"In the end, if the girl becomes a success, sh
can well afford to look back and extend th
helping hand. Nobody ever gets to the to]
without some boosts along the road, and turn
about is fair play. Live — and help others ti
live.

"And that's a good motto to hang on th
mountain."

And So the Great Master Arrives

CONTINUED FROM PAGE 38

What's more, he has shown that he can pick
'em. When he was bringing "The Miracle" to
the United States, Reinhardt found himself
somewhat on the spot. He was nearing the
shores of a land eagerly awaiting evidence of
his heralded dramatic genius minus one of the
most important cast characters in the religious
spectacle, the nun.

On the boat was Rosamond Pinchot, a
governor's daughter. Reinhardt saw her, and
in her the woman he could make into the nun
of his drama. From the passenger list of an
ocean liner, he proceeded magically to pluck
a star.

Just recently when he was casting for his
Hollywood Bowl production of "A Midsummer
Night's Dream" he chose for the important
part of Puck young Mickey Rooney, a child
actor who had never been taken too seriously
in Hollywood. Mickey was known chiefly for
his "Mickey McGuire" Comedies.

VX THEN Reinhardt announced that Mickey
would play Puck, Hollywood gasped, and
relaxed into a few knowing chuckles. Rein-
hardt must be slipping to cast a kid for the part
which the greatest actors had played since
time immemorial, was the opinion.

Well — Mickey Rooney stole the gorgeous
show. He stole it with the thundering ap-
plause of one of the most dramatically dis-
tinguished audiences ever assembled, and from
a cast of seasoned and distinguished players.

"Puck was never played before as Shake-
peare intended it until Mickey Rooney played
it," Max Reinhardt told me. "The greatest
actors in the world have played it — but never
like Mickey Rooney."

Rosamond Pinchot is now under contract to
M-G-M, and Mickey Roon;y, of course, has
plenty of prestige in Hollywood. He was the
first actor cast for Reinhardt's screen pro-
duction of "the Dream."

From what Reinhardt told me I think he
undoubtedly intends to give us some new
stars. With his marvelous ability to recognize
potential talent and to mold it — and with as
fertile a field as Hollywood to pick from — he
should be just the man to create new screen
idols.

In fact, before he came to Hollywood, he
fathered much of Hollywood's greatest genius.

I mentioned to him such greats as Ernst
Lubitsch and William Dieterle, two of Holly-
wood's most artistic directors, of Mady Chris-
tians, Emil Jannings, Pola Negri, Francis
Lederer, and, indirectly, Marlene Dietrich,
Lil Dagover, Tala Birell, Joseph Schildkraut,
Conrad Veidt and Elisabeth Bergner — the
latter known here, but yet to come to Holly-
wood.

Many of these artists lived, studied and
worked with Reinhardt in Europe before they
ever came to the screen. Others had only the
remote rays of his genius to warm them. But
all reaped from the experience something they
never could have obtained in any other way — all
caught the divine spark from Reinhardt and
blew it into brilliance with their own breaths.

Max Reinhardt shook his head and amended —

" We are all merely limbs from one tree," he
insisted. "Of course, I am proud of the actors
and former pupils of mine who have come to
success in Hollywood. But what they have
done is not traceable to me. Rather, whatever
any of us has done is traceable to our common
schooling. We all worked together."

JUST the same it was Max Reinhardt who
saw and inspired their greatness, and all
would, I am sure, without a moment's hesita-
tion, lay their laurels at his feet.

Years ago, Ernst Lubitsch, then an am-
bitious little comedian, enrolled in the Rein-
hardtschule in Berlin. Reinhardt sensed the
promise of the then unknown actor. He put
him quickly into his major productions — and
for five years Lubitsch stayed with the master,
worked and grew with him. He played every-
thing from the fool in "King Lear" to the
grave-digger in "Hamlet." When he finally
departed from under Reinhardt's wing, he
startled the screen world by directing, in
Germany, "Carmen" and "DuBarry."

Hollywood quickly sent for him — and made
him one of its highest paid directors.

But when Ernst Lubitsch made those sen-
sational pictures abroad which revealed an
entirely new and delightful technique, he was
still in his twenties. And it is taking nothing
away from his own individual genius, along
whose lines he has developed since (the
Lubitsch touch) to speculate whether he would
have been able to find himself and reveal that

genius without those years of inspiration am
guidance under Reinhardt.

Certainly it would never have occurred s<
early in life without the benefit of the master1:
serenity and his sure guiding hand.

When Lubitsch, well along in his Reinhardl
schooling, was playing in "The Miser," t
green, gawky seventeen-year-old blonde gir
joined the cast in a small role.

I_TER name was Mady Christians. Toda>
Hollywood knows her as a star from whom
M-G-M expects greater things than any othei
new member of its stellar family. She has just
completed her first Hollywood role, starred in
"A Wicked Woman."

When she went to Reinhardt, however, no one
knew her, except as the awkward daughter ol
Rudolph Christians, a great character actoi
and a close friend of Reinhardt's.

Mady wanted, against her father's wishes
(he said she would make an excellent cook!),
to become an actress. Reinhardt promised hei
an audition.

Mady's audition was quite terrible.

"So this is all we get from the offspring of
Rudolph Christians," Reinhardt muttered
sadly. But he took her into his school.

I smiled when I remembered what she had
told me about her tragicomic first days in the
Reinhardtschule.

Mady was proud then, though awkward,
she couldn't bear the repertory theater director
to think her green.

"So I said I was a great American actress,"
she laughed as she told me. "I said I had
played every part worth mentioning — in Amer
ica. They asked me to list my plays and I put
down everything I could think of, including a
play called 'Minna von Barnhelm,' which was,
then being presented in a Reinhardt theater.

" Of course, the whole sum of my actual stage
experience was the time when as a tot I'd
played a princess in one of father's plays.

"So when the director came to me a few
days later and said, 'Get ready to jump into
the lead of "Minna von Barnhelm," I almost
fainted. I sat up for forty-eight hours, drank
gallons of coffee and learned the part.

"After the first act, an old actor looked at
me and smiled, 'You've never faced an au-
dience before, have you?"

Photoplay Magazine

From then on I couldn't lie any more. I
ixed to death that Professor Reinhardt
Id hear of my disgrace and take me out of
school."

[tut he didn't and Mady Christians worked
uh Max Reinhardt seven years in all. Now
si is in Hollywood — a star.

1 can attribute my entire development as
a .actress to him. I couldn't think of any way
Mould possibly replace what I learned from
h;i. Even now, if I'm in doubt about a part
Lithe stage or on the screen, I find myself
a ing, 'How would he have me do it?' 1 still
h,ir him," Mady said.

I- For me he is and always will be the master
i fgician of the theater — "

n Reinhardt's productions of "The Mer-
est of Venice" and "Damekobolt," Mady
Dristians had the same stage lover — a young
Ovarian actor named William Dieterle.

pieterle, nine years with Reinhardt, .is an
aor, like Lubitsch, turned his talents to
i ecting when he left to try his own wings,
ke Lubitsch, too, he came to Hollywood and
tbortant success. "The Firebrand" was his
1 1 picture. Dieterle has always been very
else to Max Reinhardt — loves him as a son
lies a father. In fact, it was Dieterle who
lUght Reinhardt to Warner Brothers, even
tough Reinhardt's own son, Gottfried, works
, M-G-M.

Dieterle actually will co-direct "A Mid-
-mmer Night's Dream" with Max Reinhardt.
ibdestly he told me, "We will do it together,
ty job will be to catch Reinhardt flying."
Now as Dieterle sat between Reinhardt and
i', straightening out the occasional misunder-
Andings of two people groping in strange
pgues, I recalled the reverence which had

bade him to put himself on a plane of
juality with the master; his refusal to share
;;y glory, and his words,
^''Helping out with my knowledge of picture
fchnique will give me a way to pay back a
[tie for what he gave me. For without a
feat master, a great idol such as Max Rein-
,.rdt, one could not be inspired. I could
Iver have been a director without those years
spent with him."

,'UT in spite of these tributes I could tell, by
'his modest dismissal of the subject, that
'ax Reinhardt does not care to look back on
[e artists he has inspired in the past —

To Pola Negri, who danced and acted a
antomime part in his "Sumurun," to Francis

■derer who five years ago went to him to
;ay "Romeo and Juliet." To Marlene Diet-
th who got her first break in a Reinhardt

vue. "It Lies In The Air," and her under-
'udy in the same revue, a Viennese girl named
ala Birell, who achieved a brief Hollywood
tardom and recently came back in "The
'aptain Hates The Sea." To Salka Viertel,
[ie writer and intimate of Garbo, who started
fcr career as an actress in his Deutches Theater.
I Rudolph Amendt, Tannings, Bergner, Veidt,
id the large host of other pupils who have
|>read his fame over the world.

Nor does he care to look back to the
leatrical triumphs of the past.

Like any great genius he realizes that it is
mgerous to look back — that the future and
hat is yet to be done are what counts.
i I shook his hand and prepared to leave,
•tting a few last-minute notes of description- —

"Strong nose . . . sensitive mouth . . .
"ay hair . . ."

1 William Dieterle touched my arm. He had
hen my jottings —

"Yes, the hair is gray," he said, "but the
,es are still young."

?or February, 1935
HI

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The test we refer to included 500 people,
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PEPSODENT ANTISEPTIC

How Carole Lombard Plans a Party

CONTINUED FROM PAGE 67

With her companion-secretary, Madalynne
Fields, Carole works out the plans for each
social gathering like a set of blue-prints. Her
system runs something like this:

On Thursday, Carole decides that a week
from Friday she will have Mr. and Mrs. Dick
Barthelmess, .Mr. and Mrs. Clive Brook,
Ronald Colriian, and Mr. and Mrs. Norman
Taurog for an informal dinner.

On the same day or the next, Carole and
Madalynne will telephone the guests, and if
any of them are busy on that date, other indi-
viduals from her large circle of friends are
substituted immediately.

Not later than Friday evening, seven days
preceding the dinner, Carole works out a
complete menu, including hors d'oeuvres, and
gives it to Edgar, her cook.

And for those of you who are servantless,
let me explain that Carole Lombard's party
formula can be handled without the aid of
caterer or cook. Carole works eight and nine-
hours daily at the studios and she must have
trained servants to carry out her orders, but
her system of planning a dinner can be fol-
lowed to the letter by the clever housewife
who must do her own cooking and shopping

XJl )\\ let's see. where were we? Oh. yes, the
menu is completed, and you can depend
upon Carole to avoid all food that is merely
fussy anil decorative.

" The success of a party doesn't rest entirely
upon the food," Carole told me. "But you
can bet your last dollar it will be a flop from
the start if the food is one shade less than
excellent."

The Friday night dinner might possibly in-
clude cream of mushroom soup, salmon in
lime aspic, Cuban chicken with wild rice and
puree of peas, and ice-cream with matrons
glaces.

And right here let's take time out for the
ambitious hostess to make a mental note that
the salad course in this dinner is out because
the tish course is in. If Carole should decide
upon a salad, she would eliminate the salmon
and probably order French endive with beets,
marinated in French dressing.

But Carole says she refuses to follow any
rigid set of rules for her menus. She is very
likely to serve corned beef and cabbage with
all the trimmings to her group of English
friends who fancy a boiled dinner, or Italian
and Spanish dishes for the clique that leans to
Latin flavorings.

Edgar, it seems, can cook in any language,
and if necessary, can even accomplish a few
tasty morsels in Russian.

Not later than Wednesday the flowers are
ordered. On Thursday Madalynne, or Carole,
if she is not working, checks over playing cards,
score cards, pencils, backgammon boards and
anagram sets.

Dawns the day of the dinner, and Carole is
almost sure to be hard at work at the studio
until six o'clock or later. She is certain to
arrive home tired, and it's a nine to one bet
she'll be late as well, but she takes time out
for a visit to the kitchen. Every dish is in-
spected, the canapes looked over, and if there's
a last minute change, Carole is informed, so
there won't be any sudden surprises for her
when dinner is served.

Next comes dining room duty where the

'■>',

table is carefully checked, and then a swift
look about the living-room at the flower
arrangement.

And then, at last, she is free to shed her
work-a-day fatigue and go about the business
of emerging from her dressing-room cool and
casual, as becomes the successful hostess. But
by this time she is probably thinking, "Why
did I ask anyone here tonight — I can't make
it — I'm dead."

But she'll make it, and like it. The reviving

What would "The Night Life of the

Gods" be without a Venus de Milo?

Marda Deering was chosen to play

the role of Venus in the film

process calls for a good soak in a warm tub
stinging with pine salts, and if that doesn't
work, a small glass of sherry sipped while she
relaxes in the soothing water is bound to turn
the trick. Carole says she never fails to step
out of her cold shower humming and actually
relishing the prospect of guests.

"I try to get downstairs in time to gr«
the first arrivals. It's really the ideal way t
start things, but I won't rush myself to
pitch of nerves to accomplish it.

"I am careful about my make-up and m
hair, even if that last guest is waiting, b(
cause a good half of this hostess ease is know
ing that you look your best."

And here is another gem of advice froi
Carole for every woman with hostess yearryng
"An at-home costume or hostess gown
absolutely essential for the woman who entei
tains, and for two reasons. First, this type r
costume is extremely flattering, and that doe
wonders for any woman's poise, and secondl)
it eliminates the possibility of appearing ovei
dressed in case a guest shows up in a simpl
daytime outfit.

"If a woman has a limited wardrobe, i
would be wise to sacrifice a second dinner o
evening frock for one hostess gown. She'!
soon rate it the most valuable asset in he
clothes collection."

Cocktails and hors d'oeuvres are serve-
with the arrival of the first guests. An<
another sage warning from Carole —

" Don't serve hors d'oeuvres unless they ar
superb," she says. "There is nothing mor
dismal to the palate than a mediocre bit o
fish and egg heaped on a piece of too soggy o
too brittle toast. Until you can attain hor
d'oeuvres that cause oh's and all's, serve you
cocktails unaccompanied."

I really believe that Carole's long list o
unusual canapes and hors d'oeuvres are re
sponsible for a good measure of her successfu
parties. When her maid brings out a platte
of piping hot chicken livers that have beei
broiled and then skewered on toast, the arom;
never fails to draw bravos from the initiatet
guests. And then there is the master stroke o
fresh shrimps stuck with toothpicks ready ti
be dipped into a chilled bowl of sauce that i:
a sublime blending of chives, chili sauce
mayonnaise and tabasco.

"The zero hour for any dinner," Carolt
told me, "arrives along with the coffee aw
brandy. At that moment even a party tha
has started off at a rollicking pace can am
will curl up and die, unless the hostess is 01
her toes."

/"""'AROLF carefully avoids tragedy by per
^^mitting her guests to plan their own amuse
ments. The harrowang business of herdin;
everyone for games is eluded by the simpl<
plan of having bridge tables, backgammoi
boards and anagram sets or any other likeh
entertainment spread out in the playroon
while the guests are still at dinner. Then thos*
who wish to play games will migrate of thei
own accord to the tables, while those win
find the conversation diverting will gather
without prompting, in sociable corners.

"Fortunately, I have a number of friend:
who are excellent musicians," Carole con
tinued. "Music, if it is good and also im
promptu, is a hostess' most benign ally
When an evening at my home finishes up witl
all the guests crowded around the piano singim
at the top of their voices, I know the part)
can be checked off as a success."

Another item in the Lombard dinner ritua
that should be well heeded by the inexperience
hostess is the absence of all food followin;

Photoplay Magazine for February, 1935

I liquors Ilig': balls are made for
, e who desire them, but sticky candies are

r pressed upon unwilling guests and mid-
lijt sandwiches are absolutely out.

ie buffet supper is a less delicate instru-

l to handle than the dinner, according to
)i »le, and it is a great boon to the hostess who
nl entertain now and then for large numbers
i bests.

irole's suppers, which she works out

letttifully in a really small house for as many
Sjorty guests, are famous because of the
< nctive dishes and because there is always
!iu room in which to enjoy the grand food.

nail tables for four are distributed through
brooms and in the garden when the weather
I nits. If the garden isn't available, the

I list is pared down, because Carole knows
h the only party that can be crowded with
ajty is the cocktail gathering.

rnong the delicious things I've tasted at
!, Lombard buffets are casseroles of creamed
r,.h rooms and sweetbreads, chafing dishes of
d viand chicken, casseroles of frog legs

i'i ask how this one is made; it's too com-
.1 ited for me!) and deviled crab meat
ejed hot and steaming in shells of white china.

C T there is another important ingredient
Mesides exquisite food and splendid manage-
rs in Carole Lombard's recipe for clever
'I'stessing," and that is originality.

lie has displayed a fine flare for creating
la ies based on an idea, usually an absurd
>!. at that, and carrying them to a sublime

-
Jollywood still talks about her famous
loital party, inspired by a series of small
linents among her friends. Carole decided
i urn a regulation informal dinner into some
lirious fun at the last moment, and with the
ii;«f a surgical supply house she changed her
lf.\ing-room into a hospital ward.
Carole met her guests at the door in a nurse's
Itched white uniform and issued long hos-
)!;1 robes which were donned over dinner

ts.

hen she had them escorted to the white
r'i beds complete with names and charts
i ging over the footboard.

he butler, disguised as an interne, served
i licinal-looking drinks that were sipped
I >ugh glass tubes, but proved to be pleasant
nigh cocktails. Dinner was rolled in on an
ifrating table, and the eating utensils were
! less terrifying of surgical instruments.

l\ OULD not advise the unskilled hostess to
t tempt anything as complicated as Carole's
ical dinner, unless she is very certain
i ut the humor and spirit of her guests,
another fillip added to the social season was
role's Roman banquet, prompted by a
Aid's regrets to a dinner invitation because,
'!>ut it in her own words, "She was too tired
it up straight at the table."
Carole assured the fatigued friend she
jildn't have to sit up for her dinner, and
Jjvided mounds of pillows that served as
yian lounges in her drawing-room. Dinner
' served to ten reclining guests on low in-
Ijidual tables

>nd while I'm taking the Lombard hostess
jnula apart to see what makes it tick so
ly, I must not forget to underscore the
i st impoitant rite in her list of "do's." And
t is to forget the hostess role with the ar-
il of the first guest.

'Ian, work, scheme and manage to the
jit beforehand, says Carole, but the moment
party starts, forget you're running it, and
tend you're one of the guests.

KGOL

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Write for free illustrated booklet

Gail Patrick goes in for a bit of kitchen testing on the pineapple

and pineapple juice and comes out with some different and

delicious results

THE kitchen holds an undeniable lure for most of us.
Measuring, mixing, tasting, and finally our own crea-
tion that tempts the appetite at a mere glance. Holly-
wood stars form no exception to this kitchen urge. It's
amazing how many of them can cook, and cook well. As
women, we might agree that they like it because they don't
have to do it, but they do do it, just the same. Gail Patrick,
for example, recently delved into the possibilities of canned
pineapple and canned pineapple juice. And Gail's discoveries
might well grace our own serving trays.

Baked Hawaiian Ham — Suggested for a fairly large family or
when you entertain. You will need a smoked ham of about
twelve pounds, a large bottle of ginger ale, two quarts (eight
cups) of Hawaiian pineapple juice, one cup of raisins, two boxes
of cloves and a bouquet-garni. (This last is made by tying
together sprigs of parsley, several green onions, a bay leaf,
sprig of thyme, rosemary, marjoram, basil and sage, if you
like the latter). Soak ham in cold water to cover and a cup of
vinegar overnight. Put ham, boned and tied if possible, in

Pineapple

in Piquant

Roles—

roaster in hot oven. Add bouquet-garni an
water to cover roaster bottom. Brown for ha
an hour. Then add ginger ale and pineappl
juice. Turn ham every fifteen minutes thre
times. Reduce oven heat to 325°, place cove
on roaster and bake slowly four hours. Whe
done, remove skin, sprinkle with brown sugs
and press on cloves in design. Finish with slice
of pineapple and place directly under broiler t
brown. Let the gravy stand so fat may be r<
moved. Add raisins, boil for ten minutes an;
thicken with a little flour and water. Dar
raisins make the richest colored gravy. If ha
a ham is used, divide the recipe in half.
Duck, Goose or Pork Stuffing — A delicious vari;
tion. Pare, core and chop four large apple
Mix with two cups stale bread crumbs, one te<
spoon powdered sage, one teaspoon salt, bm
fourth teaspoon paprika and grated rind of ha
a lemon. Moisten with one cup of unsweetene
pineapple juice.

Delight Cocktail — Something different in appeti:
ers. Mix together two cups unsweetened pin
apple juice, one cup tomato juice and juice <
two lemons. Chill and shake well before servir
in small glasses.

Mulled Pineapple Juice — An idea in hot drinl
for a cold night. Tie together in a small squa
of cheesecloth, one-inch stick of cinnamon, thn
whole cloves, one-fourth teaspoon ground a
spice, one-fourth teaspoon grated nutmeg ai
pinch of salt. Add these to a quart of pineapp
juice and bring to the boiling point. Serve wi'
crackers and cheese.

Pineapple Mint Ice — A double-duty delig
either for dessert or meat course accompaniment. Soak
tablespoon of gelatin in two tablespoons of cold water for fi'j
minutes. Make a syrup by bringing to the boiling point o:
and a half cups of pineapple juice and one-half cup sugar. Nc
add the gelatin and stir until dissolved. Stir in one tablespo<
of fresh chopped mint (or mint flavoring), one cup crush'
pineapple, two tablespoons lemon juice, a little grated lem<
peel and pinch of salt. Freeze to a mush in your electric icj
box freezing pan. Remove, add the unbeaten whites of tv
eggs and with egg-beater whip in a deep bowl until the ice
light and frothy. Return to the freezing pan and free;
stirring several times during the process.
Iced Pineapple Coffee — For bridge or a dancing party, t!
drink cools you off between rounds. Boil one-third cup sug:
scant teaspoon of grated orange rind and three-fourths c
water together for ten minutes. Cool, strain and add thi
cups of cold but freshly made coffee. Just before serving
tall glasses with cracked ice, add one cup of pineapple ju
and one-third cup cream.

Photoplay Magazine for February, 1935

We Want a Divorce'

| CONTINUED FROM PAG] 47 |

n pie believe you and Charlie arc romantic ofi
tl screen," the producer argued.
Oh, you don't?" said Mary. "Well, after

irsuit of Happiness' was shown, two hundred
fifty people wrote in telling me what to do
ul Charlie's cold stomach As if I haven't
e ugh trouble without other people's cold
hs to worry about."
'Well, what about me?" Charlie cried.
"ridn't a hundred people write in to me after
fclt picture, telling me what they thought of a
u nan who would make a man wear asafetida
t >ed? Haven't they written in over and over,
Ming me what to do with a hen-pecking
nma?"

dary's wail grew louder. The producer
tijked wildly about for some solution.
'Well," he finally said, "I don't know.
Vu're already cast as ma and pa in 'Ruggles

Leontine Sagan, famous as the
director and creator of "Maedchen in
Uniform," is in Hollywood now, un-
der contract to M-G-M

Red Gap.' you know. The public is going to
terribly disappointed."
"Well, I don't want Mary out of the pic-
re," Charlie said. "Couldn't she be my — "
"Your what:-'" Mary snapped.
"Well, my aunt or-r-r — "

■ Once again Mary's wails reached to heaven,
po you see how he insults me? His aunt, my

t!"

" Well, my cousin," Charlie suggested. " My
'tie cousin Mary."

"Wait," the producer interrupted, "I have
'. idea! That's it, you and Mary can be

■ usins and I'll get you new spouses!"
"Wh-wh-wh-what?" they gasped.

"Yes, that's the very thing. Now Mary, I
i ve in mind a handsome Romeo for your new
sband in 'Ruggles of Red Gap.' A clashing,
cinaling chap."

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"Oo-oo-oh-that — oh, that's fine," Mary
said, but her voice faltered. "Isn't that nice,
Charlie?"

"And Charlie, I have the very wife for you,"
went on the producer. "A beautiful, luscious
brunette. Slender and glamorous. You'll be
crazy about her. Now I'll just give you two
that divorce right now. You are no longer ma
and pa of the screen. And good luck to you
with your new spouses." He shook the limp
hands of the bewildered pair and quickly eased
them out the door.

For two whole minutes there was complete
silence in the room. The producer sat behind
his desk, never moving.

And then very softly the door was opened.
Two people crept slowly back into the room.

"Oh-a-hello," Charlie grinned.

"Hello," the producer smiled. "You're
back soon. What's the matter? Didn't you
get what you wanted?"

"Yes — oh, yes!" Charlie said, twirling his
hat. "Oh, sure!"

" Why, you see we were just thinking it
over," said Mary. "You see — a — I don't
think this other woman, the one you spoke of,
would be good for Charlie. I — a— really don't
think she'd be safe with Charlie." (Charlie's
chest expanded six surprised inches.) " You
see, I understand him so well. Here, Charlie
let me fix your tie."

"And this — this Romeo you know, the one
you've got for Mary, well — a — we were just
thinking," said Charlie, "Mary says she never

could get along with a Romeo. She — th
is — "

"Oh, please!" Mary suddenly broke 01
"We think, after all, we'll just stay married
the screen. We don't want that divorce. J
we, Charlie, dear?"

"No — no! We don't want it."

"Well, quit fiddling," Mary snapped as th
walked out of the office.

"I can't help it if I have to fiddle, can I.
Charlie answered.

"Well, there's a — "

The voices drifted off into the distance. T
producer wiped his nervous brow with a trei
bling hand. The world was saved.

Mary and Charlie remained the ma ai
pa of moviedom.

^Awfternoon" Tea

CONTINUED FROM PAGE 82

Love scenes are being rewritten for the screen
by the dozen. No longer does the hero say,
"Darling, I love you, your wonderful smile,
your lovely eyes, your fair hair." Nowadays he
barges in with a nonchalance and a pearl-
headed cane and says, "I say, old thing, you're
a bit all right and all that sort of rot. What?
What?"

We no longer, alas, go to the Brown Derby.
May heaven have mercy on us, we now go to
the "Darby." The good old Brown Darby for
plum-duff and boiled cabbage. And, come to
think of it, maybe that's what gave Al Smith
that uncomfortable expression in a recent
newsreel. He was beginning to suspect that on
his head he wore a "darby." It's enough to
wreck any man's nerves, isn't it?

Every day brings another load of the British
influence. And remember, this doesn't come
from the English actors themselves. They're as
amazed as anyone. It comes from the Ameri-
cans who have sprinted off to England normal
and sane — or what passes for sane in Holly-
wood—and back they've come with a kidney
pie complex and a Bond Street stoop. Like
wildfire, the little mannerisms and customs of
the motherland have spread throughout the
length and breadth of Hollywood.

Louise Fazenda came home and the crumpet
idea took hold. Ralph Bellamy came home and
in two days coat-of-arm door-knobs opened
practically every front door. Charlie Farrell
came home and cricket took over polo like the
Deans took Detroit. Bill Gargan came home
and you should see the prize-fights.

Dinner jackets are now the last word in
prize-fight attire. At least the first ten rows
gleam with white bosomed spectators. Two
prize-fighters, new to Hollywood and unaware
of the English trend, made their first appear-
ance at a recent Hollywood fight.

No sooner had the burly boxers stepped into
the ring than the referee handed them a dainty
cup of steaming liquid.

" Wot's dis?" they asked suspiciously.

The referee raised a reproving eyebrow. "It's
your tea," he said, "don't be silly." Like a flash
the two fighters were at him, tearing the
screaming referee into bits before someone
interfered.

The fight progressed amid subdued enthusi-
asm. Finally one fighter landed a terrific blow
on the other's head. There was a ripple of hand-
clapping from the audience

"Jolly well struck, that blow," some ruffian
from the fifth row said, and that ended it.

Naturally, the errors in swanky drawing-
rooms gone British are just too ghastly. For
instance, one hostess asked a certain screen
villain if he would like a crumpet. "No, lady,"
he answered, "I could never learn to blow the
darn thing. I'm good on the bass drum
though."

"Tell me," a hostess gurgled to Nat Pendle-
ton, "how would you like to play cricket?"

"Yea," Nat snapped with scorn, "I see
myself rubbing my two legs together to make
a funny noise. Why not let me play I'm a bee
and sting somebody? "

"Do you know anything about Piccadilly?"
another gone-British dowager asked a screen
comic.

"Oh, sure," he replied, "my mother made it
out of green tomatoes."

"He means piccalilli as I stand here and
breathe," an actress gulped before she fell in a
swoon.

And then there was Bill Gargan who landed
home one day and the next went crazy for a bit
of good old English bacon. "I've got to have
some Wilshire bacon or I can't live," Bill
howled as he raced from one restaurant to
another in his search.

"You're sure you aren't mixed up with Wil-
shire Boulevard?" one inn-keeper asked,

which only sent Bill off all over again. At la
at the Vendome he thought he had found i
But Bill took one look at what passed forWi
shire bacon and, putting his head down on tl
table, sobbed out his heart.

After six actors and two waiters had finall
calmed him down, Bill decided to try the mu
fins and marmalade. But again the marmalac
.proved another wash-out so Bill rushed horr
to the English cook he had brought with hin
and the two are now busily pouring kettles <
jolly old English marmalade into jolly litti
jars and are selling the stuff as fast as it can b
made — and no kidding. So get in your oidt
early. But can you see the red-headed Iris
Gargan lad diddle-daddling around with h;
little pots of marmalade?

People who sell merchandise in Hollywoo
shops are no longer clerks. They are now dark:
No relation to the Gables, of course. Why, th
English craze has even spread to the telephon
operators.

A comedian, a little dizzy from too muc
English tonic water, strolled into a telephon
booth and asked for a number. Presently th
operator's voice answered, "Are you there?

"Well, not altogether," the actor apologizes
"You see, I inherited a little mental troubi
from my Aunt Hattie."

A famous Hungarian star and his wife come to Hollywood. They are

Mr. and Mrs. Peter Lorre. Mr. Lorre has been signed by Columbia.

His first picture will be "Crime and Punishment"

Photoplay Magazine for February, 1935

'Go on," interrupted the operator, "you're
t ough, sir."

rhe Bellamys also suffered a terrible fate
>n their return home. British-like, they
peed their best shoes outside the bedroom
ibr, their first night home, for a bit of polish-
up. Next morning they opened the door,
al no shoes. Ringing for a servant, in walked
i young Filipino house boy in Ralph's best
Sies and behind him strutted the cook in
J s. Bellamy's best pumps.

'Tankee," the house boy grinned. "You
tow away shoes. We keep."

I'hey didn't have the heart to say him nay.
\a, going British costs money, me lads. For
i tance, there's the gay young actor about

ni who wanted to be a bit daring and, wav-

■ to a strapping big Irish cop, called, "I say,

re's a bobby for you."

'HE cop instantly motioned for him to stop.

' So, "he said," I'm a bobby type, am I? Well,

ttt crack will cost you five bucks, and Gawd

1 p ye if ye ever call me a Percy. Drive on "

Jf course, English passion for abbreviated
i!mes could never be passed up in Hollywood.

think the English could call Cholomondeley
ijiin old Chumley and Worcestershire just
nin Wooster, was just too much for the hom-
it pigeons. No sooner had the last little group
laded in Hollywood than Toluca Lake, inno-
mt, well meaning little Toluca Lake, mind
\u, that wouldn't lift a hand against a fly,
Itcome overnight just plain "Tooley." Warner
Bothers First National in Burbank is now
'A'ootsey in Bootsey." So if you say Tootsey
"irks at "Wootsey in Bootsey," isn't every-
ing just "cutesy"?

JBut for some reason, everyone felt that after
; Beverly Hills being what it is and all, it
iinuld never be gobbled off in one gulp, what
jth all those big houses and swimming pools
; (1 Dietrich and things. So by simply revers-
h the English habit of shortening names, they
mid make it work two ways. So, strangely
«ough, Beverly Hills is now Bevhellary Hill-

)^ington-on-the-Sound. Pretty, isn't it?
Well, I tell you, visitors who have been out
'i town return to "Hooey" (that's English for
;jllywood, you know) and see sights and hear
unds they never have heard before. We're
ore English than the island itself.

N actor just back from New York tells of
'rushing into a major studio set one afternoon
!iout four o'clock. He opened the sound door
id stopped dead in his tracks. At a cozy little
a table sat the he-mannish director. Instead of
s usual snorting and ranting he was calmly
ibibing a snack of tea. With scones! Fasci-
iting little things, scones, don't you think? A
irtrayer of hard-boiled gangster roles was
ibbling on a watercress sandwich and sipping
s oolong. What's more, the electricians sip-
;d, the carpenters sipped, and the prop boy
pped. Tea over, the director asked calmly,
A ell, shall we proceed with another scene?"
! hereupon the visitor crawled from the set
id tore to his manager's office.
"Say," he began, and then stopped. About a
a table sat his manager, several rough and
ady newspaper reporters, a plumber who had
'en fixing the pipes and two hard-fisted actors.
, The chauffeur suddenly appeared with a tray
pastries. "Boss, have I gotta wash the tea
ings again tonight?" he asked. Mumbling,
e visitor crept away, only to run headlong
to Max Baer, Georgie Raft and his body-
■ard, "the Killer."

"Wait, wait fellows," he cried, "I—"
"Can't stop now," Maxie cried. "Boy, we'll
• late for tea. See you again."

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A beautiful skin is a responsibility — to keep it that
way, believes Gloria Stuart. Here she illustrates
an effective, thorough cleansing method. Herb
sachets are soaked in very warm water for beautify-
ing vapors

Gloria then gives her face full benefit of a thorough
steam bath from the herb-laden moisture, which is
cleansing, clarifying, softening. A herb balm is
applied, allowed to remain for a while, then rinsed
well away

PLAN YOUR BEAUTY

[ CONTINUED FROM PAGE 81 |

fresh turkish towel rub your skin thoroughly
but gently in light, rotating movements. This
trick will help the removal of dead skin, arouse
your circulation and help tone your face
generally.

For skins that suffer from the usual blem-
ishes of blackheads, whiteheads and acne con-
ditions, most of which are caused by faulty
care, there are special cleansing methods for
you, and I tell you about some of them in one
of my leaflets which you may have if you will
write to me.

Even if your skin care irks you at times,
please don't neglect it. Remember that the
condition of your skin today and tomorrow
and the day after that depends largely upon
systematic, thorough care. There is little use
in taking pains for a week or two then neglect
ing yourself for even a few days.

There are many splendid creams, lotions,
unguents and other aids, but they are not
magic. They cannot undo in a week what has
perhaps been done over a period of years.

Hair grows, ordinarily, at the rate of half an
inch a month, according to the best authorities
I know on the subject. That means that in the
course of a year you might have six inches of
brand new hair. A consoling fact for those of
you who are not satisfied with the present

100

By Carolyn Van Wyck

"DEAUTY at Bedtime" is a help-
'— ' f u I leaflet, telling you the
names of beauty aids as well as
how to use them. "The Perfect
Home Manicure," making it pos-
sible for you to do a good job on
your own, and "Skin Worries,"
which helps you to overcome
blackheads, whiteheads and erup-
tions, are also on hand and yours
for a self-addressed, stamped en-
velope. Carolyn Van Wyck,
PHOTOPLAy Magazine, 1926
Broadway, New York City.

texture or tone. Hair responds quickly to
proper treatment, thorough, mild shampoos,
reliable tonics for correcting the troubles of
dryness, oiliness, thinness and dandruff. There
are scientific preparations for correcting your
individual troubles, and I can vouch for the
fact that they work. Again, no magic. If dry-

ness is the trouble, we choose a tonic that en-
courages the glands to secrete more oil; if too
much oil is our woe, we use something to dis-
courage the overflow on the scalp and hair.
And so on goes the work of these understand-
able, practical aids.

Since nails, too, are always replacing them-
selves and the growth extends about an eighth
of an inch under the cuticle, you can see how
the daily use of a lubricating cuticle oil or
cream might soon reward you with a firm,
smooth nail even if your own are now brittle
and flaking. While this condition is often due
to some chemical lack in our bodies, the oils
and creams really do wonders toward supply-
ing a lubricant.

A workable beauty plan for many might be
the following, preferably at night: thorough
face cleansing, application of cream about
eyes, on any lines and over neck and hands.
Use of a grower on lashes, and brows, if de-
sired. A thorough hair brushing and use of a
tonic if the hair is not satisfactory. When in
good condition, a weekly use of tonic is
enough. Use of a cuticle cream or oil. All this
takes little time and as you become adept at
following this little schedule, you will soon
be amazed how little time it takes to insure
that new growth, which in turn spells new
beauty for you.

Photoplay Magazine for February, 1935

I o I

lhe New Ambitions of
Joan Crawford

[ CONTINUED FROM PAGE 77 |

li;e theater. Mysterious because few have
sn it. "You're one of the first," Joan said.

t's white, with natural wood paneling.
Si pie, but tastefully attractive, Joan and Bill
H nes designed it.

Between pictures we're going to put on one-
ai plays," she said. "The more literary plays.
Vi see it's a hobby, an experiment, and an

cation all at once. You know how pitifully
li e education I really have — "

didn't. I knew she had gone to three girls'
3( doIs.

Where I learned mostly how to work, and
w ;re I thought mostly of getting away," said
J n. "The things I've studied since I came to
I lvwood have been the things I had to learn
fc the screen — diction, screen technique. But
n t I want something more, something of the
tiigs I've missed. Every minute that I'm
a le I read aloud. And I have a dictionary
hidy. I used to have a professor from the
uversity come up and tutor me every week.
It I had to stop that. I was so busy "

1\SKED her who would act the plays —

>hc and her intimate group of friends?

oan nodded. She read my thoughts. " I've
h.rd about my going high-hat," she volun-
t red, "and restricting myself to an 'intimate
g|up.' I'm not high-hat. But I have so little
He that I can't waste it on people to whom I
ci't give something. I used to think I had
l4 of friends. Then, when Douglas and I
skirated, I found I had two — just two real
f ;nds. Now I have five. I know they're my
f'mds, because they have come back I can
P|e them something, and they have much to
ge me. But Hollywood —

'Hollywood doesn't mean anything to me.
lis just a name to me now. I'm completely
akrt from it. My studio is in Culver City,
an my home is here. Hollywood used to mean
s much to me. It was my life.

' When I first came out I sat around for
iinths with nothing to do. They wouldn't
en let me touch greasepaint. I had to let my
dprgy out somehow, so I went dancing. I
fed to dance, then, so I became," Joan
j;nned wryly, ''the 'hey-hey' girl.
''But I'm not sorry. I think it helped me
«y early in pictures although I've never yet
Ipn able to get away from the 'modern
■tierican girl ' classification.
j'But Hollywood was capable of hurting me
a much. The things about Hollywood that
(uld hurt me then, can't touch me now. I
a Idenly decided that they shouldn't hurt me —
it was all.

|'I have a memory like an elephant," she
s iled.

As we left the little theater, Joan assured me
'jit her ambitions for the future were still
cinitely with the screen, in spite of all this
j i<t talk.

; ' I wish I could do one stage play a year, be-
'jise I need the training. But I'm just as
• xious to do a costume play on the screen.

I like to do," she hesitated, "Joan of Arc!"

f said she had the right name,
i 'It would thrill me a great deal," she sighed,
h do one costume play a year. I've never
ine one. When I was doing all of those flam-

• youth parts I wanted badly to be a

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dramatic actress. Now I've done several
dramatic parts, but you can't just go on for-
ever being sad and making people cry.

"The picture I just finished is a comedy.
They wanted comedy and I tried to give it to
them. I did everything, fell on my face even.
And I liked it. In the future. I'd love to do one
very heavy picture, one costume play and one
comedy a year — and a stage play if I could
squeeze it in."

" And that would be enough?"

"Oh, no," Joan's face tightened. Her eyes
glistened. "I want to sing."

"On the screen, Joan?"

"Yes," said Joan, "until I'm ready."

"Ready? For what? Grand Opera?"

She nodded eagerly, almost mischievously.
"Oh, it's a wild dream," she admitted, "but
you never can tell. It would thrill me to
pieces."

It all came out. She has been taking voice
lessons an hour every day when she isn't work-
ing. She has discovered that she possesses a
voice with a range of three octaves — which is

quite low and at the same time quite high
She even started Franchot Tone singing,
thereby uncovering a very impressive basso-
profundo voice.

And it seems, he likes it so well that he prac-
tices at six o'clock in the morning and during
lunch hours!

"I'm going to sing in my next picture," she
told me, "for the first time. Popular songs,"
she added. "So, I'm going to give them
strictly a crooning voice."

I wondered if I could hear the voice, and
Joan said she had some records in the house.

We played them. Some were the "crooning
voice" and some were what "my teacher said I
had courage to even try," smiled Joan.

T 'M no vocal critic, but I thought her voice
was lovely — a low, rich mezzo-soprano, not
fully trained, but clear and promising. I
wouldn't be a bit surprised if, some day, she
made that wild dream of opera come true.

In fact, I wasn't surprised when she told me
that besides wanting from the future a screen

star's continued glory, a stage star's self-con
fident poise, and an opera singer's career, shi
also wanted to dance, really dance. Classi
cally. Ballet.

You can tell by her eager, restless face tha
she still wants many things.

I wondered if she wanted marriage again.

"What about marriage?" I asked her.

" What a shame," Joan said, pointing to thi
back of my coat. "All white. It's off the lawi
chairs I'm so sorry."

It was disconcerting, because the suit wa
new and also dark. I dusted furiously, bu
rallied.

" What a — "

" What a pity," said Joan, "that you have t<
leave. I'll get your hat."

I waited grimly at the door.

She returned, smiling sweetly.

"What about marriage?" I repeated, "I'vi
got to say something about it."

"Why don't you say," suggested Joan
handing me my hat, "that you asked me abou
marriage and I changed the subject."

What I Like and Hate About Myself

CONTINUED FROM PAGE 69

fortable, or bored part of the time. See what
1 mean?"

From the eager, vital, impetuous Lee Tracy
I went to see the beautiful Anna May Wong
on the "Limehouse Blues" set. Rehearsing
for the part of the dancer in the noisy, smoky
den, she stood with an immense dignity on the
dingy platform ... a thousand, slanting,
Chinese years back of her unshakeable poise.

"I never like people who like themselves,"
she told me. "There are traits and emotions,
however, which certainly create likes and dis-
likes within a person. I probably have genera-
tions of self-disciplined ancestors to thank for
what I like most about myself: the ability to
face situations calmly. That is a Chinese trait
which has not been difficult for me to develop.
In fact, I think little of it until I see others go
to pieces, so to speak. I am so hard to rile
that sometimes I get provoked with myself for
not flaring up once in a while. Some people
seem to go through life looking for fights. I
shrink from them. It certainly is not coward-
liness, for nothing I have encountered so far
has frightened me. I am simply thoroughly
convinced that temper and anger are against
all standards of right living, and I do not count
them among my emotions. Certainly, Holly-
wood is a difficult place in which to keep calm.
But, I have and like that ability. Yet I take
little credit for it. I was born with it."

Alice White likes the impression she gives
on the screen of being the fresh little kid next
door. She told me that old ladies would come
back stage during her recent personal appear-
ance tour and call her "Alice," explaining that
they couldn't help it. They felt they really
knew her!

She dislikes the parts she plays, however.
" Nothing annoys me more than the little wise-
cracking, gaga snips I play, but I look so
young when I get a good cameraman that no-
body will cast me as a girl with any brains."

As a person, she likes the fact that she's
learned not to take herself too seriously. "I've
travelled around the country a bit and I've
seen that other people have lives, too.

"But what I can't stand about myself is my
eternal procrastination. A friend of mine re-

cently had a baby, and I kept telling myself
to send her a telegram. I've told myself for a
long time now, but when I do send it the baby
will be grown up."

Francis Lederer disposed of the whole matter
in a few positive, well-chosen words:

"I do not like anything about myself either
personally or on the screen. My performance
on the screen is like the picture a painter
would paint — and he is never satisfied. That
is why I am not satisfied. I am striving for a
fine performance, and I always feel that I have
fallen short of what I had hoped to achieve.
Although you will not believe me, there is
nothing about myself off the screen that I like,
either. In fact, of all the people I know, I like
myself the least."

T7"AREN MORLEY, I'm afraid, waxed
a little facetious when she chose her new
false eye-lashes as the thing she likes best
about herself on the screen. "They are beauti-
ful," she said earnestly, "just the kind of
lashes I've always longed to have, and they
look as if they grew on me.

"The thing I like least about myself on the
screen is my walk. I really can walk nicely if
I think of it, but when I'm playing a part, I'm
too mentally occupied with it to watch my
walk. And then when I see myself — whew!"

As an individual, she voted for her ability
to give an imitation of the great Garbo. That
is her pet like. The quality she most dislikes
in herself is her absentmindedness. One morn-
ing, she even forgot to bring her treasured eye-
lashes to the studio!

No mother ever told her little girl that she
couldn't play with Madge Evans. Practically
any mother would be happy to leave her
children with Madge when she went shopping.

"And that," says Miss Evans, "is what I dis-
like about myself on the screen. I dislike my
extreme reliability. I'm always cheering some-
one on to win a football game or to make a
man of himself. I'm always safe. I always do
the right thing. I'd like to be just a little less
reliable. But I do like the way I wear my
sports clothes on the screen.

"I have a major fault as a person that I

would like to correct. I'm always imaginin:
that I have hurt someone. I'm not demon
strative. I'm lacking in even the most com
mon social graces. It's impossible for me ti
go up to a close friend and say, 'Hi — you-
like you!' I'd love to be utterly and devastat
ingly charming, but it's impossible. And si
I'm always wondering whether so and so i:
hurt. There is one thing, and one thing only
that I like about myself. I'm not afraid o
anything."

Neil Hamilton flatly refused to give me a like
So he made up for it by giving me four dis
likes. He dislikes his smile on the screen. "I
looks," he says, "just like a scared rabbit look
ing up at a mad elephant." He also thinks hi
uses too many gestures. He dislikes, off thi!
screen, his total inability to follow anythin;
to its logical conclusion, and his lack of matun
judgment of people.

And now I'll fool him. What I like abou
him is his vitality, his tremendous enthusiasms
He goes whole-heartedly at everything, am
nothing lasts very long. When he was buildin;
his home, he couldn't think of anything else
Then it was finished and you couldn't get hin
off his boat. Then he built a swimming poo
and practically lived in it, until it was sup
planted by a tennis court. Then he took u]
bicycling, then hiking. Then he discovered :
hermit living in the hills and went up ther
and stayed a week, eating nothing but rav
vegetables. Then he decided to study French
Next came a period devoted solely to health
with trainers and everything. Then he tool
up, in rapid succession, music, art and hor
ticulture. His latest enthusiasm is a cav
which he discovered near his house. He prac
tically lives in it, cooking his own meals, an<-
the family has to send messages out to him.

Neil wouldn't tell his likes. Douglas
Montgomery wouldn't tell his dislikes.

"My mother told me when I was a chih
'For goodness' sake, don't tell your faults t
people. They might miss some of them.' S
I refuse to tell any of my faults, becaus
people would immediately flock around thet
like bees around a pot of honey if I drew a:
tention to them. But Lordy! how I can tal

102

Photoplay Magazine for February,

il ut my likes! This is a chance of a lifetime!

To begin with, I like my high cheekbones,

ai I like one side of my face, and the area

it tnd the eyes and the cheek bones. I'm
gi eful that my ears don't stick out, although

I have no lobes and fall, therefore, into the
cninal class. I like my voice because it is

U beautiful and therefore does not detract

rn what I am saying. My legs are good,

a 1 the exception of my knees, which knock,

a my back is all right. Outside of that, I'm
tciible. I'm a great disappointment to my-
sci as an individual and as an actor."

rlissa Landi dislikes her mouth on the
sc en. She likes her walk — the way she
rryes. Off, she likes her ability to tell the
ti[h under all circumstances, and she dislikes
hi quick temper. Both, she said, get her
in the same amount of trouble. And I like
tl way she answered those questions —
qfckly, and honestly, and straight from the
slulder.

une Knight likes her voice and the fact
tlit on the screen she has more personality
tin beauty. She dislikes the way she walks.
S likes about herself her inability to say
"n't." "I have overcome so much (she was
opled for years and by sheer determination
n de herself into a very fine dancer) that I
h»e a feeling there is nothing I cannot do."
Bt she dislikes her wholesale trust in people.
Evelyn Venable said, "I can't stand various
life idiosyncrasies I have that I never knew

0 until I saw myself on the screen. For
hjtance, I never knew that I raise my eye-
bjws every time I smile. Ever since I first
s,' myself do that in a picture, I have tried to
cltrol it and now I am quite self-conscious
ajmt it.

FI didn't like the way I walked when I first
s I myself. So I set about to develop an
eirely new carriage. I use my pictures as
i)1 examination papers, and I'm still far from
g duation.

''What do I like about myself? I'll tell you
vat I would like. I would like, some day, to
g a chance to do Shakespeare on the screen.
\ien I do, I'll tell you if I like myself."

kittle Raquel Torres could think of only
c: like — her loyalty to her friends. She dis-

1 ;s her ability to be fooled in her judgment
c people, and she dislikes (of all things!) her
a::ent on the screen.

\nd so I went back to report to my little
1 ;h school friend.

I* I've found out something," I told her.
' 'he bigger you are on the screen, the more
sf-critical you become. Because a million
pple write letters of admiration to you does
rt mean that you become serene with a feel-
i|; of perfection. The more seriously you
t:e your screen career, the more attention
Ji pay to your faults."

\nd I told her the results of my investiga-
te.

'Then you think it is all right for me to go
1i plastic surgeon and have my nose changed? "
x said eagerly. "But Mother has forbid me
I go," she added.

'Your mother," I said firmly and with great
iginality, "knows best. All I wanted to
l>ve to you is that famous people of the
seen are human beings and not conceited
licocks. Fame has not dulled their capaci-

s for self-analysis. So admire them for

tat they are, and don't envy them for a self-
::isfaction they haven't got. A lot of them

ve mothers who won't let them cut off their

ses, either."

And with that I went home to my mirror to
|: what I wanted the plastic surgeon to

irt on.

1935

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Redd This Before Asking Questions

Avoid questions that call for unduly long an-
swers, such as synopses of plays Do not inquire
concerning religion, scenario writing, or studio em-
ployment. Write on only one side of the paper.
Sign your full name and address. For a personal
reply, enclose a stamped, self-addressed envelope

WHEN Ross Alexander made his screen
debut in "Gentlemen Are Born,"
everyone started asking about him.
With the release of "Flirtation Walk" his fol-
lowing increased by leaps and bounds, so the
old Answer Man now endeavors to tell a "wait-
ing public" all about him.

He has been in the theatrical business since
he was four years old, when he appeared in a
play called, "A Nest of Birds." As the years
rolled around he appeared in such plays as
"The Ladder," "Under Glass," "No Ques-
tions Asked," "After Tomorrow," "Let Us Be
Gay" and "The Wooden Slipper."

Back in 1932 Ross appeared briefly in a pic-
ture made in Paramount's Eastern Studio. It
was "The Wiser Sex" featuring Claudette Col-
bert, Melvyn Douglas, Lilyan Tashman and
Franchot Tone. Ross went back to the stage
after that and forgot about making pictures
until Hollywood beckoned last year.

Ross was born in Brooklyn, N. Y., July 27,
1907. He is 6 feet, \Y2 inches tall; weighs 160
pounds and has brown hair and blue eyes. His
family name is Smith. Last February he was
married to Aleta Freile, a stage actress. All you
admirers of this lad can address him in care of
the Warner-First National Studios, Burbank,
Calif. His latest picture is "Maybe It's Love."

Sid, Newark, N. J. — The cute trick who
danced with Edward Everett Horton in the
"Let's Knock Knees" number in "The Gay
Divorcee" is Betty Grable. You can write to
her in care of the RKO-Radio Studios, 780
Gower Street, Hollywood, Calif.

D. & M., Chicago, III. — No need for further
scrapping, boys, you're both wrong. Frank Fay
was the leading man in " Under a Texas Moon."
Raquel Torres and Myrna Loy were his leading
ladies.

Music Lovers Everywhere — So many
have sent in requests for the names of the songs
that Grace Moore sang in "One Night of Love,"
that I have to answer them en masse. Here
they are: "Sentre le libre" from "La Traviata;"
"Last Rose of Summer" from "Martha;" "La
Habanera" from "Carmen;" "Un del di" (One
Fine Day) from "Madame Butterfly;" "Ciri-
biri Bin" sung in the Italian Restaurant scene.
Grace also sang in the sextette from "Lucia di
Lammermoor." The theme song of the picture
was "One Night of Love."

B. R. Smith, Buffalo, N. Y. — Betty, you're
just one of hundreds who has fallen for Tullio
Carminati. Well here's the low-down on him.
Tullio hails from Zara Dalmatia, Italy, where
he was born September 21, 1896. He is 5 feet,
11 inches tall; weighs 155 and has brown hair
and blue eyes. His real name is Count Tullio
Carminati di Brambilla. He has been in the
theatrical profession since he was nineteen

104

Tall, slender Ross Alexander
was one of the most talented
Broadway juveniles before his
entrance into talkies. He has
been making pictures for three
years. His latest is Warners'
"Flirtation Walk"

years old. Upon the completion of "One Night
of Love" Tullio went to Italy to make a pic-
ture. He is back in Hollywood again ready to
make more American pictures.

Miss Rae Perino, Allendale, N. J. — Rae,
both Leslie Howard and Fredric March ap-
peared in "Smilin' Through." Leslie played
the role of Jolm Caleret and Fredric was Ken-
neth Wayne. Others in the cast were Norma

Casts and Addresses

As these take up much space, we treat such sub
jects in a different way from other questions. For
this kind of information, a stamped, self-addressed
envelope must always be sent. Address all inquiries
to Questions and Answers, Photoplay Magazine,
1926 Broadway, New York City.

Shearer, O. P. Heggie, Ralph Forbes, Beryl
Mercer, David Torrence, Margaret Seddon and
Forrester Harvey.

I. Newton Leigh, Portland, Ore.— The
movie based on Susan Glaspell's novel "Brook
Evans," was released under the title "The
Right to Love." It was made in 1930 by Para-
mount and featured Ruth Chatterton, Paul
Lukas, David Manners, Irving Pichel and a
notable supporting cast. Richard Wallace
directed the picture. If you want a complete
cast send me a stamped addressed envelope.

Hazel Sayen, Toledo, Ohio — In 1927
Dolores Del Rio and Rod LaRocque appeared
in "Resurrection" for United Artists. Uni-
versal made a talkie version of it in 1931 with
Lupe Velez and John Boles. Anna Sten and
Fredric March recently appeared in still
another version which was released under the
title, "We Live Again."

Ruth Mooney, Chicago, III. — Going in for
altitude records, eh, Ruthie? Alice Faye is the
smallest of those you mentioned, reaching just
5 feet, 2 inches. Next comes Jean Parker, 5
feet 3; then Maureen O'Sullivan and Claudette
Colbert, each 5 feet, 4 inches. Elissa Landi and
June Knight follow with 5 feet, 5 and Margaret
Lindsay tops them by one inch.

B. M. Seymour, Dallas, Tex. — The prin-'
ciple characters in "The Hell Cat" were Rob
ert Armstrong, Ann Sothern, Benny Baker,
Minna Gombell, Charles Wilson and J. Carrol
Naish. Send me a stamped return envelope il
you want a complete cast.

Harold Brennan, Portland, Ore.— 1
don't blame you one bit for falling for Anita
Louise. Ah, me, if I were only a young ladj
again. Anita is a born New Yorker, the event
fill day being January 9, 1917. She is 5 feet, 2
inches tall; weighs 96 pounds and has blonde
hair and blue eyes. Her real name is Anits
Louise Fremault. She received her education
in New York, Hollywood and abroad. Enteret
pictures in 1921 at the ripe old age of 4 years
Her most recent pictures are "Judge Priest,'
"Most Precious Thing in Life," " Bachelor o;
Arts" and "Firebird." Anita is "keeping com
pany" with Tom Brown.

E. A. F., La Jolla. Calif.— So glad to hear
from you. Ronald Colman was born in Rich
mond, Surrey, England, February 9, 1891. Hi
is 5 feet, 11 inches tall; weighs 165 and ha'
black hair and brown eyes. Made his debu
into pictures in England in 1919 and in tin
U. S. A. in 1921. Prior to that he was on tin
stage. You're right, he appeared in botl
"Raffles" and "Arrowsmith." His next pictur
is "Give of India" in which Loretta Young i
his leading lady.

Nonchalant Noel
Coward

[ CONTINUED FROM PAGE 58

Photoplay Magazine for February, 1935 10C

WITHOUT COOKING ! "

dducers now and again for the way they
Sidle his plays, he is always ready to applaud
Men they produce one of his shows in a way
tit pleases him. He will not condemn Holly-
dod because the movie capital changes a play
iund. He will make a joke or two and let it
d at that. And when they do a thing like
■Cavalcade" he is the first to be on hand with
itulations.
I have some jolly good friends in Holly-
\ od," he told me, his hands in his pockets and
H head back. "I enjoyed myself out there. I
And things interesting. They wanted me to
ikke a film, but I couldn't see it at the time."
Greta Garbo, in Noel Coward's eyes, is one
(. the most sensible screen players in Holly-
Aod. So is Ronald Colman.
j" It seems quite obvious," he said. "They
ike comparatively few films. They stay
lay from too much publicity and all this
ilshing around and so on. They do things
Jietly and steadily, and that's what really
i|unts in the long run. The very obvious
&ult is that they are welcome by film audi-
oes when they appear in a picture."
jit sounded like good logic. Noel Coward
puld not have made a fortune in the theater
' thout a keen sense of logic. It is not difficult
| realize that, looking at him.

vTOBODY knows if he will ever make a
. picture. He might, and he might not.
|ou never can tell about Noel Coward. He
tight write a play one week and be off to

ina or Alaska the week after.
I like traveling," he told me, as we sat
ere. "I'm always too late or too early. I
[rive in Japan when the cherry blossoms have
lien. I get to China too early for the next
volution. I reach Canada when the maple
javes have gone and the snow hasn't arrived.
L-ople are always telling me about something
haven't seen. I find it very pleasant."
\ Seeing that we were on the subject of travel,
decided to get to the bottom of his Mediter-
.nean episode last summer. The newspapers
adc a great deal out of that. They had him
lipwrecked in his yacht off Corsica — sunk in a
(orm, as a matter of fact. Later they had him
.arooned without any clothes in some lonely
Sherman's shack.

: He smiled and settled back more comfort-
b\y. "The publicity given that little ind-
ent," he declared, "was a lot of blah."
"Blah?"

"Blah. Simply blah! I had just got over
ppendicitis and decided to take a sea trip in
jiy yacht for a little blissful convalescence.
j'ff Corsica we ran into a storm. It was a
eautiful affair, and the boat did everything
ut capsize. I decided, then and there, that
hat was enough for me, so I went ashore from
jie yacht. The next thing I heard was that the
oat had been shipwrecked. Practically all my
Rothes were lost. Luckily my valuables
! eren't on board. But, Good Lord, what a
joliday the papers had! They made me ship-
recked in my yacht, simply floundering
round in the seas, you know, when all the time
| wasn't near the thing! And then they had
r.e completely marooned in a fisherman's hut
-some musty hovel with barely a stitch of
lothes left clinging to me. As a matter of fact

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I was resting comfortably in a first-class hotel;
very ritz, if you want to know the truth."

I looked at him. Evidently the London
tailors had been busy since that yacht went
down in the Mediterranean.

"I got back to London for rehearsals on
'Theater Royal.' Immediately I developed
colitis, and had to stop work every few hours
and rest up. It was really a lovely rest cure —
completely restful!"

That twinkle in his eye again. The play
'Theater Royal' was the London version of the
American production, "The Royal Family,"
which appeared on the screen as "The Royal
Family of Broadway."

Noel Coward began to chat with me about
the theater and plays. He may never produce
his war drama, "Post Mortem," because he
thinks the time has passed for it to be a success.
He is producing his own plays today, and he
admits that he is glad to be doing it. With
John C. Wilson as his business manager, and
Alfred Lunt and Lynn Fontanne, the American
stage stars, as acting partners, he is running his
own show, writing, producing, directing and
acting.

He is reticent about his private life. It will
all come out, he says, in his autobiography.
He started work on that some time ago, and is
still putting a few words to it whenever he gets

the chance. Characteristically he said: "It's
quite a job. I mean, when you write a play
you know what the ending will be. But you
can't know the end to an autobiography, can
you?"

Noel Coward is an amazing personality. He
is the most versatile man in the theater, and
his energy is little less than astounding. In his
"thirties" he has already a long list of suc-
cesses ^behind him — some of them loved and
some of them hated, but nearly all of them
admittedly brilliant.

Today he will finish off a play which, like or
not, will be a hit in New York and London.
Tomorrow he will sit down and write one or two
songs, both words and music. They may go
into a musical show he has in mind, or they
may not. But in a short time the public will
hear him sing them on gramophone records.
He has made broadcasts from London stations.
He produces his own productions and directs
them, and nine times out of ten he will play a
part in them. He is a capable actor, a com-
poser of better-than-average tunes, finished
showman and a brilliant dramatist.

Noel Coward will never be "typed" in his
plays. He can be the last word in modernism,
as he was writing " Private Lives", and " Design
for Living." He can switch back and write a
lovely musical romance like "Bitter Sweet."

He can handle drama like he did in "Th
Vortex" and be passionately sincere as he wa
in "Post Mortem," and he can turn around am
write a spectacle that had England and th
world drying tear-filled eyes, like his never-to
be-forgotten "Cavalcade."

He has stated that he had no time for patri
otic fervor when he wrote that drama c
England and her people. Yet looking at him
as I did there in the lounge of the Empress c
Britain, one has the feeling that Noel Coward
for all his modernism and sharp wit, wa
moved by something very deep when he wrot
"Cavalcade," and that, probably, there wa
something there of the spirit, although in
different vein, that prompted him to write th
unproduced, "Post Mortem."

"I'm going off somewhere after the openim
of my new play," he told me. " I think it wil
be probably China, or Java. I may come bad
with something new. I don't know."

We had talked a long time; longer than I ha<
realized. The ship was nosing up to the docl
at Quebec before we knew it. He reached out
gave me a hearty handshake, said, "Cheerio!1
and was off to see his valet about his luggage

He moves quickly and decisively. He talk
that way, too. Very modern, very English am
very Noel Cowardish. He wouldn't disappoin
you.

Hollywood, My Hollywood

CONTINUED FROM PAGE 27

THE MAIN STEM

The world is here. Parading along this busy-
dizzy alley of wonders in mid-afternoon you'll
find a main stem as full of freaks as any circus
Barnum ever owned. Visiting firemen gape in
astonishment.

Dames young and old prowling around in
bathing suits and beach pajamas, and the
nearest beach is eleven miles away.

Two mugs on the corner opening an argu-
ment, and six more mugs on a truck moving in
with twelve "arcs" to advertise the opening.

Maybe the dignified guy in the hi-silk topper,
the cutaway and the gold-headed cane is not
the banker Maybe he is a five-buck extra
gent on his way to the Colossal studio. Maybe
if he is on his way to Colossal he is not a five-
buck extra gent. And finally, maybe he is
not even working.

Blondes of the weirdest flavors. Platinum,
lemon, cocoanut, ash, strawberry, pistaschio,
mixed, minced and rinsed.

That ol' covered wagon with the sixteen
Borax burros is not toting Death Valley
Scotty in from the desert mines. It's adver-
tising the opening of a new movie palace, a
drive-in food market, a political rally, a night
club, or, maybe Aimee Semple McPherson's
Temple.

Here comes a bare-footed old dude with a
white beard and mane. This stand-in for Kris
Kringle is Peter the Hermit. He's a pretty
wise old guy at that. He lives in the hills and
he is smart enough to pick for his neighbors
the birds and the bees, the bugs and the trees.
Peter is sartorially perfect. He carries a
eucalyptus staff. (Maybe it's hickory or oak.
but somehow it seems like it ought to be
eucalyptus.) He wears white duck slacks a
bit soiled, and an open-neck shirt a bit more
soiled, a garb which has been carefully copied
by hundreds of Hollywood's best undressed

Autograph-seekers, mostly professionals,
swarming around movie stars as they duck in
and out of such favorite eat-and-be-seen-eries
as the Brown Derby. Sardi's or Al Levy's
Tavern. Suspicious mugs like Jack Oakie
peeking into the books to make sure they
aren't signing phony checks or what have you?
Most of the autograph hounds don't know, nor
care, who the movie star is, and most of them
can't read anyway.

It's Dollar Day. You see people on the
boulevard whom you haven't seen since last
Dollar Day. They swarm in from the hills
and dales clutching their dollars in trembling
fists. They buy articles that go back to the
regular price of six-bits the next morning. But,
they're satisfied. So are we. We love suckers.

Curfew doesn't ring at nine o'clock any more.
Too many, one, two, three, four and five
o'clock chumps and cuties call Hollywood
home now. At night, the main stem is a
dazzling riot of colored Neon lights, loud
noises and louder merry-makers clad in any-
thing from sweat shirts to tuxedos, pajamas to
evening gowns.

What a main stem!

FRIDAY'S FIGHTS

Every fight fan in the country has heard of
the Hollywood American Legion stadium
where the picture stars go every Friday night.
The galleries are packed to the rafters with
gore-loving Mexicans, Filipinos, Hawaiians,
Chinese and Japanese. The reserved seats are
jammed to the ringside with gore-loving
movie actors and actresses, producers, direc-
tors, writers, cameramen, agents and occa-
sionally a legalized voter.

Lupe Velez and Johnny Weissmuller lead
one cheering section and Mae West another.
On a bum night, Lupe and Johnny can stage a
better scrap than the pork-and-beaners.

The joint has a swell matchmaker, om
Charlie McDonald, but the boxing commissioi
successfully gums up the night's fun by ap
pointing mind-readers and soothsayers a:,
referees. Invariably these "wizards" forget t<
bring their crystals. The only way they cat
make a decision is to think of a numbc
between "3" and raise the loser's hand. T»ht
assemblage in the melting pot roar like hell
and then fill it up again the following Frida)
night.

But, the night of nights was a recent affair
when 01' Doc Kearns, assisted by none othei
than Dick Barthelmess (we still don't know
why), led the Italian Adonis, Enzo Fiermonte
to an unexpected slaughter.

The day of the "fight of the century" al
the barbers and manicurists on the boulevan
were laying eight and ten to one that Errz'
would stop his opponent, an old shock-absorbed
named Les Kennedy. It appears that thu
smart-alecks thought the old "fix" was oi
and that the wop warrior was a sure thing d
knock your old Les bow-legged. Unfortunate
ly, someone forgot to take Les into thei:,
confidence He rapped Mrs. Astor's pel
Adonis right on the button and took all the
"fear" out of Fiermonte.

The Hollywood boys and girls are stil
trying to comb this one out of their wigs.

THE BOWL

To go from the ridiculous to the sublime, a-
it were, Hollywood offers one of the sever .
wonders of the world in the Bowl. If 01
Dame Nature had her way, Hollywood wouk
still be the same beautiful little model 01,
simplicity it was twenty years ago when w<
first watched it emerging from its cocoon oi
orange groves.

Here and there quaint little rlatroofed, om
and two story frame and stucco building

100

Photoplay Magazine for February, 1935

cited the main stem. Mostly, however, the
I ilevards and narrow residential side streets
vre lovely vistas of doll-like California bunga-
les set amid vari-colored flowers and shrubs

I07

spacious lawns. Towering eucalyptus and
awling peppers vied with majestic palms
1 cool evergreens in shading the streets and
lies. With sudden wealth from the fast-
awing movie studios, unprecedented pros-
I ity and Chamber of Commerce ballyhoo,
1' romantic village we once knew has become
cross between Mecca and Broadway.
Burists chase movie actors and escrow
Lilians chase tourists.

I you really care to see the Hollywood the
<>l Dame Nature planned, go to the Bowl
lilden away from the Hullabaloo, this mar-
\iously beautiful and natural amphitheatre
ii.lic mountains is a sylvan retreat which will
Cirm even the most blase and sophisticated
!ool California nights under the stars,
liening to Jose Iturbi conduct a symphony,
t Grace Moore and Lawrence Tibbett singing
aas; or, to hundreds of voices chanting the
iilpiring hymns of the Easter services at
sjirise; or, watching the gorgeous spectacle
oMax Reinhardt's interpretation of Shakes-
pire's "Midsummer Night's Dream" are
r 1 and rare experiences

NIGHT LIFE

wenty years ago the lads and lassies who
cived night life could find it only in the far-
ing suburbs of Los Angeles. Hollywood was
S 1 a nine o'clock town. It is true they could
dice to Paul Whiteman's swell music at the
Vxandria hotel, now quite extinct. They
c Id dine well in that grand old hofbrau,
t Hoffman, run by the genial Louis Arzner,
1. icr of the girl picture director, Dorothy.
Ipse who liked fish went to the Goodfellow's
Cbtto, still one of the best in this country, or,
J[i's Chowder House. The sports patronized
Id Harlow's or McKee's. For all-around
gfid food and cabaret entertainment the gang
inhered at Al Levy's, where Bill Frawley and
1. beautiful titian-haired wife Louise kept the
vvi frcm the door by yodeling and hoofing
nfhtly for the cash customers. Kindly little
<> Al Levy has catered to southern California
atetites for more than thirty years, moving
wjh the town. Today he is still one of Holly-
nbd's favorite hosts.

kit, for the jolly old night life the boys and
g s had to take their fun and frolic at Baron
Lig's Vernon, birthplace of many celebrated
eertainers. Among them Paul Whiteman.
Ake and Abe Lyman, Blondy Clark, Chris
S oenberg, Pee-wee Byers and the late
J'kie Taylor. Or, we went to the Baron's
''■era in the unromantic town of Watts to
li 1 Harry Richman. On warm nights we
dve to the beaches. What fond recollections
o, he unique Ship at Venice, the Jewel City
jfeeal Beach, The Sunset Inn at Santa Mon-
i( and Nat Goodwin's at Ocean Park.
Airing spots in those good old days — but few.

'oday, Hollywood night life is smart,
^ippy and expensive. In the good old days
0 he "kittys" it was an intimate, one-happy-
H ily idea. The entertainers were pals of
tl customers and vice- versa. Wally Reid
wild play Pee-wee Byers' saxophone, Fatty
A uckle loved to work out on the snare drums
a Norman Kerry coveted Whiteman's baton.

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W'ilkerson is really an editor, having won his
chief fame in Hollywood as the publisher of
the Reporter, which shares .with Variety the
distinction of being the alpha, beta and omega
of the picture game.

Next in favor may be found the Colony and
Clover clubs, the El Rey, the Mont Aire and
Sebastian's Cotton Club for the Harlem-
minded. Baron Long has given up Agua Cali-
ente in Mexico and his racing stables to show
the hotel folks how to make the Biltmore hotel
pay dividends. And, the Ambassador's famed
Cocoanut Grove, featuring orchestra leaders,
continues to draw the dancing mobs.

Yes, sir, Hollywood's night life is hot. A
thousand-and-one night clubs spring up over
night. For all kinds of people. They have
even turned the old blacksmith shop under the
spreading live oak tree, where we used to pitch
horseshoes, into a hit-and-miss joint.

Actors love to go for a piece of these quick-
folding nighties. But, we won't go into that.

One of the few Eldorados is backed by our
old curly-haired pal, Leon Errol. It rejoices in
the quaint but alluring name, the Black Pussy.

BROWN DERBY

How the tourists love to watch the stars
eat! Here is a typical scene at noon in the
Brown Derby. Two visiting firemen and a
lassie from Omaha are sitting with a Holly-
wood guide in a booth.

First Fireman — Who is that blonde in the

booth across from us?
Guide — That's Carole Lombard.
Second Fireman — Carole Lombard. Holy

Moses! Is that what she looks like off the

screen? Why, you're better looking than

she is, Elsie.
The Lassie — Oh! now Roy, I don't think so.

But, who is the man with her.
Guide — That's George Raft.
The Lassie— The FIGHTER?
Guide — No, the picture star.
First Fireman — I thought Raft had curly

hair like Leon Errol.
Second Fireman — So that's Raft, eh? I

know a kid in the Owl drug store fountain

back home who looks like him.
The Lassie — Well, neither one of them look

so awful fancy to me.
(In the next booth Bill Frawley and I are
taking a burn.)

Scoop — Get a load of those silly nit-wits

from the sticks in the next booth. They

probably came out here on a hay-ride.

Bill — Yeah— and they'll probably end up in
"The Life of Ziegfeld."

YESTERDAYS

Like two Rip Van Winkles, minus the long
white beards, Bill Frawley and I sit in a sky-
scraper office looking out of the windows
down on the steady flow of busy humanity
beneath us on the boulevard. They swarm
like bees from, a hive, in all directions. When
we close our eyes, sitting there, it is even a bit
bewildering to a couple of sophisticated guys
of the world. Twenty years ago where this
skyscraper now stands, we two wanderers lay
under a palm tree, indolently wiggling our tired
toes in the soft grass of a Hollywood boarding-
house lawn. We watched the parade go by in
those yesterdays too, but it was all so different.
It was easy come, easy go. Old California!

We can hear the faint tinkle of a guitar as
we lay drowsing in the sun. That would be
Wally Reid strumming a melody to some pals,
in his bungalow just around the corner.

Four pretty little girls go tripping by on
their way to luncheon at the rose-covered
bungalow tea room across the boulevard. The
one with the golden curls is that little Biograph
girl. They say her name is Mary Pickford,
and the blonde with her is Blanche Sweet.
Those two quaint ones with them are sisters,
Lillian and Dorothy Gish. They just arrived
from Massillon, Ohio. Ah, see that tall man
with the hawk nose and the big straw hat
greeting them. That's the great D. W.
Griffith, you know.

What's that? Listen to the yells. Look,
back of us. Here they come around the
corner. Boy, look at those babies go. That
handsome guy in front on the white horse is
J. Warren Kerrigan. Who's the girl in his
arms? Oh, that's the new beauty discovered
from ol' Alabam'. That's Lois Wilson. Look
at those Injuns ride. Whoops and yells!
Here come the cowboys to the rescue. Boy,
this is the life!

Mi gawd! Look at the firewagon coming
down the boulevard. No, it isn't a firewagon.
It's Tom Mix in his new racing car. Get a
double O of that ten-gallon sombrero. And
those colors!

The parade passes by in leisurely fashion,
mostly.

See those guys who have stopped to talk.
They're going places. In that one group are
Cecil DeMille, (Yeah, that's the one in the
puttees and riding britches). Jesse Lasky and

Dustin Farnum. Swell actor, Dusty. Did
you see him in "The Squaw Man" ? They
just made it in that big barn they call a studio,
down the street. That's Bill Farnum in the
other group, with Tom Santschi. What a
great battle they put up in "The Spoilers."
Swell actors, too. The guy with them is a
regular. That's Frank Lloyd. He is going to
direct a big picture, "A Tale of Two Cities,"
with Bill playing Sidney Carton. Six reels,
they say. What a chance they're taking!

There come the real beauties of Hollywood.
The brunette is Alice Joyce and the blonde
looker is Anna Q. Nilsson. They both used to
be art models in New York, you know. They
stop to chat with Jack Mulhall. He's a great
lad. And, there come Tom Ince and Charlie
Ray. Yeah, that's Charlie, the tall gawky kid
in the rube makeup.

Take a tumble to what is driving up to the
tea room. That's Mack Sennett, and the cute
little trick with him is Mabel Normand. The
big roly-poly guy is Fatty Arbuckle. But, who
is that funny little mutt with them. See, the
guy in the baggy pants, with the cane and the
derby hat. And, the trick mustache. His
name is Chaplin, Charlie. He's an English
comic. Yeah, Sennett seems to think he is
funnier than Ford Sterling. But, we don't
know.

What do you say we go lie down in the ham-
mocks and get a snooze? Wait a minute, here
comes a regular guy. That tall, dignified
looking gent. He's the new sensation. That's
Bill Hart. They're calling him the "two-gun
man." You want to see him in "Hell's
Hinges" and "The Passing of Two-Gun
Hicks." He's swell!

Twenty years! We open our eyes. Nuts,
we're still up in this silly skyscraper looking
down at a flock of ants. Let's get rolling.
Where are we going? We're going to drive out
thirty miles from Hollywood, boy, and we'll
sit ourselves down in peace and comfort under
a big oak tree on top of a high mountain
We'll dream away the hours as we look down
on the roses, the palms, the peppers, the syca-
mores and the oaks guarding the domain
beneath us. Our host will be a tall quiet man
As we lift our highballs together in toasts to
God's country, Bill Hart will look at us with
a knowing grin, and say: "Drink hearty, boys.
Ain't it grand!"

| Next Month: Another Installment
of "Hollywood, My Hollywood."!

They Didn't Mean to Be Funny

continued from page 55

around — sort of without me, if you know what
I mean. And that 'Oh dear . . .' The first
time I said that was in my first talkie, 'The
Dummy,' and I've been saying it ever since.
Sometimes I swear I'll never say it again. I'm
so tired of me on the screen. I started out to
be a tragedienne. But my hands and voice
and my face were too much to work against."

Charles Butterworth, he of the dead pan
and serious mien was a very grave steady
young man, laboring continually under the
delusion that life is real and life is earnest, and
with no thought of a stage career. He aimed
at politics.

With his features frozen into a doleful come-
what-may expression, he related the following
ridiculous (but true) story:

"It was all a sad mistake, my becoming a
comedian. To my dying day I will never for-
get the pain and shame of it. It happened
about nine o'clock one evening at Rockford,
Illinois — a political rally. No one will ever
know the sleepless hours I had spent in pre-
paring my speech, with the burden of America's
political future upon my shoulders. When I
stepped upon the stage, I was dazzled for a
moment when I saw so many strange faces
down front.

"No more than a hundred words had passed
my lips before I began to detect a faint sound
of snickering in the audience," he sighed.
"Then I saw that it was my oration.

"Well, that speech, in the end, got the place
in an uproar — and I walked out. leaving most

of the vegetables right there on the stage."

Acting on the advice of friends, who had
almost died laughing at his grave attempts to ;
tell people how to vote, Butterworth went on the
stage and became one of the greatest of
monologists.

Louise Fazenda, always planning to be a
comedienne, never dreamed, however, that her
comedy trade-mark would be that devastat-
ingly contagious giggle.

" I knew when the talkies came in that I
would have to do something to hold my own, I
or else open a restaurant somewhere," she told
me. "Anybody can talk. And so I exper-
imented with several sound effects Thusly
the giggle came. Not everybody can giggle as
sillily as I can."

108

he story back of Stuart Erwin's
urate dumb comedy is interesting.
iter graduating from Kgan's dramatic-
al in Los Angeles, he stage-managed about
and then took the same job with George
wood, who was producing "Women Go
)ii''orever," at the Music Box in Hollywood.

I >le to cast a small two-side part, that of an
narrassed young man, Erwin took it him-

II realized my part was so small that no-

ivdd ever remember me," he recounted.

11 Idenly it struck me that if I read the two

ii - very slowly, taking a lot of time out for

e ation and general dumbness, I would stay

mine stage longer and the audience would

. notice me. And it did."

hich is a good example of how desperation

'oiled an actor into acquiring a comic trade-

Ina May Oliver's famous sniff and nose
Jkle are her trade-marks. She gave that
r historic sniff in "Half Shot at Sunrise."
le picture she had to do something to show
e disdain at the clowning of Wheeler and
\ ]sey. So, she did the most natural thing
n he world. She sniffed. And how! All
mlspicious, she went to the preview of the
lire, and was flabbergasted at the howls of
uhter her sniff caused. So, she continued
. nd later developed the nose wrinkle that
nfened "Cimarron." These accidental trade-
is are her only concessions to slapstick,
rjh she hates.
leaking of Wheeler and Woolsey — imagine
ymbarrassment when I asked Woolsey how
appened to think of that funny, mincing
\ jger of his.

;)h, I naturally walk that way," he said,
n aligned at my discomfiture. And he does.
tier watched him walk down to the com-
likry,

US everlasting and active cigar accidentally

lecame another of his comedy trade-marks

use Wheeler had a line of dialogue he

a ed to use in a play. The gag was for

Alsey to blow smoke in Wheeler's face,

m!then have Wheeler inhale it, blow it out,

in say, "Thanks. That's the first thing you

e me." It went over big, and since

. Woolsey has kept his cigar.

heeler is distinguished from other co-

t ans by his little boy manner and hesitant.

■ o hful manner of speaking. Woolsey sug-

-e^'d it to him, so they could have one person

i e team who could carry the romantic in-

rt and thereby eliminate the necessity of

i ng the conventional romantic leads.

'\ leler was, at one time, what he calls "a

a y-pants" comedian.

- for Stan Laurel and Oliver Hardy — they
ait bitterly against being teamed as co-
•t ans. They lost. Hardy's comic trade-mark

■ >ping his tie with that self-conscious, em-

■ ■ issed smirk — was accidentally discovered

• screen laugh, although he does it quite

EtJ and entirely naturally in real life. In

■' if their first pictures, Hardy spread his

k over a mud puddle for the leading lady

| alk over, and then stood watching her

. twiddling his tie quite unconsciously as i

i 1 so. The tremendous laugh at the pre-

wis totally unexpected, and the tie

He was adopted permanently.

urel's elegant gesture of throwing his el-

1 up and scratching the top of his head is

- | natural thing for him to do. He did it
»i before it was found to be funny for screen

i D >ses. and the condition of his hair is
It sticks up in all directions all the
R and nothing can be done about it.

Photoplay

slow.

Magazine i"or February, 1935

I 09

The Hawaiian

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Now EIGHT

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Casts of Current Photoplays

"BABBITT" — First National. — From the novel
by Sinclair Lewis. Adapted by Tom Reed and Niven
Busch. Directed by William Keighley. The cast:
Geo. F. Babbitt, Guy Kibbee; Myra Babbitt, Aline
MacMahon; Tanis Judique, Claire Dodd; Berona
fiabbitl, Maxine Doyle; Ted Babbitt, Glen Boles; Paul
Reisling, Minor Watson; Zilla Reisling, Minna Gom-
bell; Charlie McKelvey, Alan Hale; Judge Thompson,
Berton Churchill; Martin Clinch, Harry Tyler;
Commr. Gurnee, Russell Hicks; Zeke, Arthur Ayles-
worth; Eunice Littlefield, Nan Gray; Miss McGoun,
Mary Treen.

"BABES IN TOYLAND"— Hal Roach-M-G-
M. — Based on the operetta, music by Victor Herbert,
book by Glen MacDonough. Screen play by Frank
Butler and Nick Grinde. Directed by Gus Meins and
Charles Rogers. The cast: Stanley Dum, Stan Laurel;
Oliver Dee, Oliver Hardy; Bo-Peep, Charlotte Henry;
Tom-Tom, Felix Knight; Barnaby, Henry Kleinbach;
Widow Peep, Florence Roberts; Santa Claus, Ferdi-
nand Munier; Toymaker, William Burress; Mother
Goose, Virginia Karns.

"BATTLE, THE"— Leon Garganoff Prod —
From the novel by Claude Farrere. Directed by
Nicholas Farkas. The cast: Marquis Yorisaka,
Charles Boyer; Fergan, John Loder, Marquise Yori-
saka, Merle Oberon; Betty Hockley, Betty Stockfield;
Hirala, V. Inkijinoff; Felze, Miles Mander; The
Admiral, Henri Fabert.

"BEHOLD MY WIFE"— Paramount.— From
the story by Sir Gilbert Parker. Adapted by William
R. Lipman and Oliver LaFarge. Directed by Mitchell
Leisen. The cast: Tonita Stormcloud, Sylvia Sidney;
Michael Carter, Gene Raymond; Diana Carler-Curson,
Juliette Compton; Mrs. Carter, Laura Hope Crews;
Mr. Carter, H. B. Warner; Bob Prentice, Monroe
Owsley; Jim Curson, Kenneth Thomson; Mary
White, Ann Sheridan; Mrs. Sykes, Charlotte Gran-
ville; Pete, Dean Jagger; Juan Stormcloud, Charles
B. Middleton; Benson, Eric Blore; News Photogra-
pher, Fuzzy Knight; 1st Reporter, Jack Mulhall; 2nd
Reporter, Neal Burns; 3rd Reporter, Pat O'Malley;
Miss Copperwailhe, Gwenllian Gill; Indian Boy,
Billy Lee.

"BRIGHT EYES "^Fox.— From the story by
David Butler and Edwin Burke. Screen play by
William Conselman. Directed by David Butler. The
cast: Shirley Blake, Shirley Temple; Loop Merrill,
James Dunn; Mrs. Higgins, Jane Darwell; Adele
Martin, Judith Allen; Mary Blake, Lois Wilson;
Uncle Ned Smith, Charles Sellon; Thomas, Walter
Johnson; Joy Smylke, Jane Withers; J. Wellington
Smythe, Theodore Von Eltz; Anita Smythe, Dorothy
Christy; Higgins, Brandon Hurst; Judge Thompson,
George Irving.

"CURTAIN FALLS, THE"— Chesterfield.—
From the story by Karl Brown. Directed by Charles
Lamond. The cast: Sara Crablree, Henrietta Cros-
man; Dot Scoresby, Dorothy Lee; John Scoresby,
Holmes Herbert; Katherine Scoresby, Natalie Moor-
head; Allan Scoresby, John Darrow; Barry Graham,
William Bakewell; Martin Devrridge, Jameson
Thomas; Helen Deveridge, Dorothy Revier; Taggarl,
Eddie Kane; Mrs. McGillicuady, Aggie Herring;
Hotel Manager, Tom Ricketts.

" EVENSONG" — Gaumont-British. — Based on
the play by Edward Knoblock and Beverly Nichols.
Adapted by Dorothy Farnum. Directed by Victor
Saville. The cast: Irela, Evelyn Laye; Kober, Fritz
Kortner; Madame Valmonl, Alice Delysia; Archduke
Theodore, Carl Esmond; George Murray, Emlyn
Williams; Tremlowe, Muriel Aked; Sovino, Dennis Val
Norton; Pa O'Neill, Arthur Sinclair; Bob O'Neill.
Patrick O'Moore; Solo Tenor, Browning Mummery;
Baba, Conchita Supervia.

"FATHER BROWN, DETECTIVE" — Para-
mount.— From the story by Gilbert K. Chesterton
Screen play by Henry Myers and C. Gardner Sullivan
Directed by Edward Sedgwick. The cast: Father
Brown, Walter Connolly; Flambeau, Paul Lukas;
Evelyn Fischer, Gertrude Michael; Inspector Valen-
tine, Robert Loraine; Sir Leopold Fischer, Halliwell
Hobbes; Mrs. Boggs, Una O'Connor; Peter, Peter
1 bibbs; Jinny, Bunny Beatty; Policeman, Robert
Adair; Sergeant Dawes, E. E. Clive; Clerk in Flower
Shop, Gwenllian Gill; Don, Eldred Tidbury.

"FLIRTING WITH DANGER"— Monogram —
From the story by George Bertholon. Screenplay by
Albert E. DeMond. Directed by Van Moore. The
cast: Bob, Robert Armstrong; Lucky, William Cag
ney; Jimmie, Edgar Kennedy; Mary, Marion Burns;
Rosita, Maria Alba; Von Kruger, William Von
Brincken; Capl. Garcia, Gino Carrado; Dawson,
Ernest Hilliard; Fentou, Guy Usher.

"FUGITIVE ROAD"— Invincible.— From the
story by Charles S. Belden. Continuity by Charles
S. Belden and Robert Ellis. Directed by Frank
Strayer. The cast: Haupmann Oswald von Graunsee,
Eric Von Stroheim; Sonia Vollanoff, Wera Engels;
Riker, Leslie Fenton; Papa Yinocchio, George Hum-
bert; Mama Vinocchio, Anna de Metrio; Lieut. Berne
William von Brincken; 2nd Lieutenant, Hans Ferberg;
A civilian, Michael Visaroff; Doctor, Ferdinand Schu-
mann-Heink; Johann, Hank Mann; Burgermaster,
Harry Holman; Herbert Smith, Harry Allen.

"HOME ON THE RANGE"— Paramount —
From the story by Zane Grey. Screen play by Ethel

110

Doherty and Grant Garrett. Directed by Arthur
Jacobson. The cast: Jack, Jackie Coogan; Tom Hat-
field, Randolph Scott; Georgie, Evelyn Brent; Thur-
man, Dean Jagger; Beady, Addison Richards;
"Cracker," Fuzzy Knight; Girl Entertainer, Ann
Sheridan; Bill Morris, Howard Wilson; Benson,
Phillip Morris; Undertaker, Albert Hart; "Flash,"
Allen Wood; Butts, Richard Carle; Brown, Ralph
Remley; Shorty, C. L. Sherwood; Hotel Clerk, Francis
Sayles; Lem, Alfred Delcambre.

"I AM A THIEF"— Warners.— From the story
by Ralph Block and Doris Malloy. Directed by
Robert Florey. The cast: Odette Mauclair, Mary
Astor; Pierre Londais, Ricardo Cortez; Colonel Jack-
son, Dudley Digges; Daudet, Hobart Cavanaugh;
Count Trenlini, Irving Pichel; Baron Yon Kampf,
Robert Barrat; Francois, Arthur Aylesworth; M.
Cassiel, Ferdinand Gottschalk; Max Bolen, Frank
Reicher.

"IMITATION OF LIFE"— Universal.— From
the novel by Fannie Hurst. Screen play by William
Hurlbut. Directed by John M. Stahl. The cast:
Beatrice " Bea" Pullman, Claudette Colbert; Stephen
Archer, Warren William; Elmer, Ned Sparks; Aunt
Delilah, Louise Beavers; Jessie Pullman (age 3),
luanita Quigley; Jessie Pullman (age 8), Marilyn
Knowlden; Jessie Pullman (age IS), Rochelle Hud-
son; Peola Johnson (age -f), Sebie Hendricks; Peola
Johnson (age 9), Dorothy Black; Peola Johnson (age
19), Fredi Washington; Martin, Alan Hale; Land-
lord, Clarence Hummel Wilson; Painter, Henry
Armetta.

"IT'S A GIFT" — Paramount. — From the story
by Charles Bogle and J. P. McEvoy. Screen play by
Jack Cunningham. Directed by Norman McLeod.
The cast: Harold Bissonetle, W. C. Fields; Mildred
Bissonette, Jean Rouverol; John Durston, Julian Mad-
ison; Amelia Bissonetle, Kathleen Howard; Norman
Bissonetli, Tom Bupp; Everett Ricks, Tammany
Young; Baby Dunk, Baby LeRoy; Jas. Filchmueller,
Morgan Wallace; Mr. Muckle, Charles Sellon; Airs.
Dunk, Josephine Whittel; Miss Dunk, Diana Lewis;
Insurance Salesman, T. Roy Barnes; Gale Guard,
Spencer Charters; Harry Payne Bosterly, Guy Usher;
Mr. Abernathy, Del Henderson; Vegetable Man, Jerry
Mandy; Ice Man, James Burke; Old Man in Limou-
sine, Wm. Tooker; Old Woman in Limousine, Edith
Kingdon; Mrs. Frobisher, Patsy O'Bryne.

"MARIE GALANTE"— Fox.— Based on the
novel by Jacques Deval. Screen play by Reginald
Berkeley. Directed by Henry King. The cast: Craw-
belt, Spencer Tracy; Marie Galante, Ketti Gallian;
Plosser, Ned Sparks; Tapia, Helen Morgan; Brogard,
Siegfried Rumann; Tenoki, Leslie Fenton; General
I'hillips, Arthur Byron; Ratcliff, Robert Loraine;
Sailor, Jay C. Flippen; Ellsworth, Frank Darien; Tito,
Tito Coral; Bartender, Stephin Fetchit.

"MAYBE IT'S LOVE— First National.— From
the play by Maxwell Anderson. Screen play by Jerry
Wald and Harry Sauber. Directed by William
McGann. The cast: Bobby Halevy, Gloria Stuart;
Rims O'Neil, Ross Alexander; Willie Sands, Frank
McHugh; Mrs. Halevy, Helen Lowell; Adolph Xlengle,
Jr., Phillip Reed; Adolph Xlengle, Sr., Joseph Caw-
thorn; Florrie Sands, Ruth Donnelly; Lila, Dorothy
Dare; Mr. Halevy, Henry Travers; Mrs. Gorlick,
Maude Eburne; The cop, J Farrell MacDonald.

"MIGHTY BARNUM, THE"— 20th Century-
United Artists. — From the screen play by Gene
Fowler and Bess Meredyth. Directed by Walter
Lang. The cast: Phineas T. Barnum, Wallace Beery;
Mr. Walsh, Adolphe Menjou; Jenny Lind, Virginia
Bruce; Ellen, Rochelle Hudson; Nancy Barnum, Janet
Beecher; Todd, Tammany Young; Man with Three-
headed frog, Herman Bing; Joice Heth, Lucille La
Verne; General Tom Thumb, George Brasno; Lavinia
Thumb, Olive Brasno; Gilbert, Richard Brasno;
Bearded Lady, May Boley; Skiff, John Hyams; Car-
diff Giant, Tex Madsen; Swedish Consul, Ian Wolfe;
Horace Greeley, Davison Clark; Daniel Webster,
George MacQuarrie; Maitre d'Hotel, Charles Judels;
(»/,■, Christian Rub; Sam, Franklyn Ardell; Mrs.
Wendell-Wendell, Ethel Wales; Mrs. (i'aldo Astor,
Theresa M. Conover; Mrs. Rhinelander-Fish, Brenda
Fowler.

"NIGHT ALARM"— Majestic— From the story
by Jack Stanley. Screen play by Earl Snell. Directed
by Spencer Bennet. The cast: Hal Ashby, Bruce
Cabot; Helen Smith, Judith Allen; Henry B. Smith.
H. B. Warner; Caldwell, Sam Hardy; The Mayor,
Harry Holman; Mosley, Harold Minjir; Mrs. Van
Dusen, Betty Blythe; Entertainer, Fuzzy Knight;
Vincent Van Dusen, Tom Hamlin; Dexter, John
Bleifer.

"ONE HOUR LATE"— Paramount.— From the
story by Libbie Block. Screen play by Kathryn Scola
and Paul Gerard Smith. Directed by Ralph Murphy.
The cast: Eddie Blake, Joe Morrison; Bessie Dunn,
Helen Twelvetrees; Stephen Barclay, Conrad Nagel;
Hazel, Arline Judge; Cliff Miller, Ray Walker; Maxie,
Edward Craven; Maizic, Toby Wing; Mrs. Eileen
Barclay, Gail Patrick; Simpson, Charles Sellon; Mr.
Zeller, Edward Clark; Tony St. John, Ray Milland;
Benny, George E. Stone; Jim, Bradley Page; Orrville,
Sidney Miller; Gertrude, Gladys Hulette; Mr. Finch,
Jed Prouty; Sick Woman, Hallene Hill- Her daughter,
Diana Lewis; 1st friend, Frank Losee, Jr.; 2nd friend,
Alfred Delcambre; Soda Clerk, Douglas Blackley.

"PERFECT CLUE, THE' —Majestic— From
the story by Lolita Ann Westman. Adapted by
Albert DeMond. Directed by Robert Vignola. The
cast: David Mannering, David Manners; Ronnie Van
Zandl, Skeets Gallagher; Mona Stewart, Dorothy
Libaire; Jerome Stewart, Wm. P. Carlton; Barkley.
Ralf Harolde; Carter, Ernie Adams; Delaney, Robert
Gleckler; Station Master, Frank Darien; District At-
torney, Charles C. Wilson; Ursula Cheeseborough.
Betty Blythe; Simms, Jack Richardson; Police
Officer, Pat O'Malley.

"PRESIDENT VANISHES, THE"— Walter
Wanger-Paramount. — From an anonymous story-
Screen play by Carey Wilson and Cedric Worth.
Adapted by Lynn Starling. Directed by William A.
Wellman. The cast: Wardell, Edward Arnold; Presi-
dent, Arthur Byron; Chick Moffat, Paul Kelly; Alma
Cronin, Peggy Conklin; Val Orcott, Andy Devine;
Mrs. Stanley, Janet Beecher; Harris Brownell, Osgood
Perkins; D. L. Voorman, Sidney Blackmer; Lincoln
Lee, Edward Ellis; Mrs. Orcott, Irene Franklin;
Richard Norton, Charley Grapewin; Sally Voorman,
Rosalind Russell; Roger Grant, Douglas Wood; Drew,
Walter Kingsford; Cullen, DeWitt Jennings; Judge
Corcoran, Charles Richman; Kilbourne, Jason Ro-
bards; Skinner, Paul Harvey; Molleson, Robert Mc-
Wade; Kramer, Harry Woods; Nolan, Tommy Du-
gan; Mrs. D tiling, Martha Mayo.

"RED MORNING"— RKO-Radio.— From the
story by Wallace Fox and John Twist. Directed by
Wallace Fox. The cast: Kara, Steffi Duna; John
Hastings, Regis Toomey; Captain Paraza, Mitchell
Lewis; Stanchon, Charles Middleton; Glibb, Arthur
"Pat" West; Hawker, Raymond Hatton; Wong,
Willie Fung; The Native Chief, George Regas; Mac,
George Lewis; A Trader, Olaf Hytten; Sakki, Francis
McDonald; Store Keeper, Lionel Belmore; The Magis-
trate, Brandon Hurst; Hotel Keeper, James Marcus.

"ROMANCE IN MANHATTAN"— RKO-R\-
dio. — From the story by Norman Krasna and Don
Hartman. Screen play by Jane Murfin and Edward
Kaufman. Directed by Stephen Roberts. The cast:
Karel Novak, Francis Lederer; Sylvia Dennis, Ginger
Rogers; Frank Dennis, Jimmy Butler; Attorney
Pander, Arthur Hohl; Officer Murphy, J. Farrell
MacDonald; Miss Anthrop, Helen Ware; Minister,
Donald Meek; Police Sergeant, Sidney Toler; Miss
Evans, Eily Malyon; Landlady, Lillian Harmer.

"SEQUOIA" — M-G-M. — Based on the novel
"Malibu" by Vance Joseph Hoyt. Adapted by Ann
Cunningham, Sam Armstrong and Carey Wilson.
Directed by Chester M. Franklin. The cast: Toni
Martin, Jean Parker; Bob Alden, Russell Hardie;
Matthew Martin, Samuel S. Hinds; Bergman, Paul
Hurst; Joe, Ben Hall; Sang Soo, Willie Fung; Fen>
Soo, Harry Lowe, Jr.

"SILVER STREAK, THE" — RKO-Radio. —
From the story by Roger Whately. Screen play by
Roger Whately and H. W. Hanemann. Directed by
Thomas Atkins. The cast: Ruth Dexter, Sally Blane;
Tom Caldwell, Charles Starrett; Allan Dexter, Hardie
Albright; B. J. Dexter, William Farnum; Von Brechl,
Irving Pichel; Crawford, Arthur Lake; Mr. Tyler,
Theodore Von Eltz; Higgins, Guinn Williams;
O'Brien, Edgar Kennedy; Dr. Flynn, Murray Kinnell:
Molly, Doris Dawson; McGregor, Harry Allen.

"STRANGE WIVES"— Universal.— From the
story "Bread Upon the Waters" by Edith Wharton.
Adapted by Gladys Unger. Directed by Richard
Thorpe. The cast: Jimmy King, Roger Pryor; Nadja,
June Clayworth; Olga, Esther Ralston; Warren, Hugh
O'Connell; Paul, Ralph Forbes; Boris, Cesar Ro-
mero; Bellamy, Francis Sullivan; Mauna, Valerie
Hobson; Svengaarl, Leslie Fenton; Dimilry, Ivan
Lebedeff; Mrs. Leeper, Doris Lloyd; Guggins, Claude
Gillingwater; Princess, Carry Daumery; Hilda, Greta
Meyers; Tribesman, Harry Cording; The Butler, Olaf
Hytten; General Kouraljine, Walter Walker.

"WEST OF THE PECOS "—RKO-Radio.— From

the story by Zane Grey. Directed by Phil Rosen. The
cast: Pecos Smith, Richard Dix; Terrill Lambeth,
Martha Sleeper; Colonel Lambeth, Louis Mason;
Jonah, Sleep'n'Eat; Mauree, Louise Beavers; Wes,
Adrian Morris; Cort, George Cooper; Breen Sawtell,
Fred Kohler; Sam Sawtell, Pat Collins; Charlie,
Charles Stevens; Manuel, Pedro Regis; Bill Hald,
Oscar Apfel; Brazee, John Wray; Neal, Russell Simp-
son; Evans, Maurice Black.

"WHEN A MAN SEES RED"— Universal —
From the story by Basil Dickey. Screen play by Alan
James. Directed by Alan James. The cast: Buck
Benson, Buck Jones; Mary Lawrence, Peggy Camp-
bell; Dick Brady, Leroy Mason; Barbara, Dorothy
Revier; Ben, Sid Saylor; Radcliffe, Frank LaRue;
Mandy, Libby Taylor; Sheriff, Jack Rockwell; Padre,
Charles K. French; Spook, Bob Kortman; Spike,
William Steele; Silver, Silver.

"WICKED WOMAN, A' '—M-G-M.— From the
novel by Anne Austin. Screen play by Florence Ryer-
son and Zelda Sears. Directed by Charles Brabin.
The cast: Naomi Trice, Mady Christians; Rosanne,
Jean Parker; Naylor, Charles Bickford; Yancey,
Betty Furness; Curtis, William Henry; Curtis, as a
child, Jackie Searl; Yancey, as a child, Betty Jane
Graham; Rosanne, as a child. Marilyn Harris; Ed
Trice, Paul Harvey; Gram Tcague, Zelda Searsj Bill
Renton, Robert Taylor; Peter, Sterling Holloway;
Neddie, George Billings; The Sheriff, DeWitt Jen-
nings.

Photoplay Magazine for February, 1935

r I I

Who Is Your Husband's Favorite Actress?

[ CONTINUED FROM PAGE 29 j

throaty voice. The stride, slowed down to the
Garbo tempo, would be stunning. But this
girl always tears through a room like a squirt
of seltzer. She wouldn't have to sink her
voice way down to the plumbing — it's there
already — but the way she uses it will never
make papa close his eyes and imagine Greta
has him enfolded in her sensuous embrace.
The girl I mention sounds off like a fog-horn
and is about as mysterious as a black eye.
She's really a very swell girl, and popular.

She has a lot of pride. Naturally, every
woman wants to be loved for herself and not
because she reminds a man of somebody else.
This one has apparently decided she would
rather let her husband go off now and then on
a harmless emotional binge with Garbo and
his imagination, than make any effort to be a
little Garbo in the home. She is confident he
will always come back, good as new. (One
nice thing about these picture affairs — they're
harmless, and quite inexpensive.)

A CERTAIN local automobile dealer has
■^^ been married only a year to a dear, little
plump blonde, and he is obviously crazy about
her. So how can you account for the fact that
he torments the poor dear with his tremendous
enthusiasm for tall, dark Kay Francis?

Perhaps he does it for the fun of seeing her
sputter. Perhaps he likes a change in type
when he goes to the theater. But it proves a
man can be sincerely in love with his wife and
still enjoy looking at another woman who isn't
the least bit like her. (It's the double nature
of the brutes.)

It is extraordinary the number of quiet
mousy little males who seem to get a bang out
of Mae West. Look around you, next time
you see one of her pictures. All the henpecked
husbands in town will be there. "Here is a
woman who really understands men," their rapt
concentrations seem to say. " She would never
be a nag or a chatter-box or take away our
rights. We could tell her anything and she
would comprehend it." Mae is an out for a
flock of frustrations. •

Many girls resent their suitor's interest in
his favorite actress because they feel the picture
queen has more money to look beautiful, the
facilities for it are available, and she is always
presented to the best advantage.

It is good keen competition, all right. But
regard it as a standard to live up to, and above
all things, don't do your resenting out loud.
This gives any man the edge

It is always a mistake to carry your desire
to please to the extent of too-obvious imita-
tion. You can never be another person — and
you don't want to be another person. Men
hate copy-cats. You can adapt your voice,
your clothes, your coiffure, your attitude. But
it is silly to strive to please to the extent of
bleaching your hair or gluing on eyelashes that
wave languidly down to your chin, if the rest
of you doesn't belong.

The other night I listened in brazenly on a
little scene between husband and wife leaving
the theater. "Boy, how that Lombard girl
: can wear clothes!" exclaimed the man.

I looked to see if the missis reacted. She
did. She looked as if she yearned to push him
: off a cliff. "Oh, clothes! clothes!" she dis-
dained. "Anybody can put on a lot of clothes
and look pretty."

My unspoken answer to that was "well, why
don't you?"

An attractive woman, but the fact was almost
concealed. An old beret was jammed down
over her hair, a pair of loose slacks whipped
around her legs. She wore sandals meant for
the beach, from which raw toes stuck out to
the cruel world. Her face was entirely innocent
of make-up. There is about one man out of
ten who approves this sort of sloppy-comfort-
able get-up. This husband Was one of the
other nine. He didn't go for it. "You don't
have to be clothes-crazy" was his Parthian
shot, "neither do you have to look as if you
dressed to paint a house!"

Often it is a bother to get dressed just to go
up the street to a picture show — but it is also
a bother to lose your man.

In the smaller communities and the suburbs,
you frequently see some quaint costumes going
into the theater. The idea is to be comfortable
— a perfectly laudable idea — what with the
lights out most of the time anyway, you figure.
But man is a strange creature. Even in this
emancipated age, he would rather wait half an
hour for a girl to get ready who shows results,
than wait five minutes for one who slips on
the top stair and comes down. (The joke has
a beard — but you get the idea.)

If your husband is an inarticulate sort of a
guy who would be embarrassed to admit his
favorite actress — or even hint that he has one
— you will have to do a little probing. There
is always one whose picture he goes to see with-
out fail. If she happens to be Jean Harlow, and
you are an anxious housewife, maybe a little
frivolity on your part would be a good idea.
Or maybe you should take off a few pounds.
Have you ever noticed how these lads who
claim to be crazy about you plump take a new
lease on life when you get the bulges off your
hips?

A SURPRISING number of men suffer with
Claudette Colbert trouble, and an equally
surprising number of wives either dismiss it as
a joke or wonder what they can do about it.

I suspect one wife of taking the hint. She
has had her black hair cut in a most becoming
bang, and trimmed her figure down to perfec-
tion. Then suddenly, she began to dress for
dinner every night. Now don't snicker and
accuse her of being affected. She has to get
the dinner herself, just as many wives do, but
you can get a much better dinner with your
arms bare. Maybe it was her own idea, maybe
she decided that was what the soignee Claud-
ette would do. Anyway, she slips into a snug
little black dress, does something miraculous
to her hair — and you would be surprised how
frequently papa shows up with flowers these
winter evenings.

Of course, girls, if you're going to continue
being hot and bothered over Clark Gable and
John Boles, you may as well expect the other
side of the house to retaliate in the only pos-
sible way.

After all, remember you are the girl he
selected. His movie crush is an indirect way
of informing you about a few details — how he
likes to see clothes worn, and hair and figures,
whether he likes his answers snappy or meek
and mild . . .

Find out his favorite actress — and take the
hint.

" — at my bridge party, even
my little daughter noticed
how embarrassed I was over
my red, rough hands.

"Later she said, 'Mother,
don't you think maybe your
hands would look as nice as
Mrs. Nugent's if you used Lux
when you do dishes? She says
anybody can have nice hands
by using Lux instead of harsh
soaps that make people's
hands rough and red.'

"And it's true! Since I've
changed to Lux for dishes, I'm
actually proud of my hands!
It takes so little to make rich
suds that a big box lasts more
than a month for
all -the dishes."

^vAx^WS^

(Mrs. R. W. \\

SAYLES)

LUX

for dishes
keeps hands
YOUNG r^r

1 1 2

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HIS HEART

STOOD STILL

as she turiKMl ...

Again ivould he be disillu-
sioned by a marble-face?

WOULD she, too, be another disappoint-
ment —her graceful form marred by an
over-powdered face — flaky, white, cold.''

Or would a close-up show a concealed,
natural powder . . . alive, alluring?

Such is the experience of many a man . . .
and many girls wonder why men shy away.
If men dared tell the truth, they hate '"that
powdered look," too often patchy.

Wise girls, taking the tip from the smart
leaders of international society, now use the
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natural look— SOFT-TONE Mello-glo.

This new creation is vastly superior because
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and covers pores without clogging.

Just try SOFT-TONE Mello-glo and you'll
never fear a "close-up". It won't flake off. It
can't shine. It ends that pasty, '"flour-face"
look men dislike.

Don't delay -get a box of new SOFT-TONE
Mello-glo today. Compare it with your fa\ <>r-
ite — see how much better you look. Five flat-
tering shades — caressingly perfumed — 50c
and $1.

?\OTE: To obtain the new SOFTTO\E Mello-
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edge, which distinguishes it ftom out Facial-tone
Mello-glo {Heavy) in a gold box with white edge.

p» SOFT-TONE

MELLO-GLO

the close-up powder that
gives an UN -powdered look

Tj* TD "C1 Tj1 Merely send Coupon for

JL 11 !■ fi fascinating booklet: "The

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• The Mello-glo Co., Boston, Mass. p.h.2-36 j
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i
i

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□ Ivory □ pj^h □ Natural □ Rachel □ Brunette.

CONTINUED FROM PAGE 73

THE CURTAIN FALLS— Chesterfield

TLTENRIETTA CROSMAN carries this
picture as an old vaudeville actress (Sara
Crabtree). Obscure now, she takes a last
chance and impersonates the titled Lady Scores-
by, a former friend. She moves in on her
Ladyship's relatives, solves their involved
problems, then confesses her hoax and the
curtain falls on her last performance. Dorothy
Lee, Holmes Herbert, Natalie Moorhead,
William Bakewell and others, form a capable
cast.

FUGITIVE ROAD— Invincible

T_XERE is Eric Von Stroheim in the kind of
role that made him famous — uniform,
eyeglass, and all. And he's just as good as he
e\ er was as the commandant of a frontier post
in Austria, falling in love with an American
girl, Wera Engels, and frustrated in his ro-
mantic plans by gangster Leslie Fenton.
While the story is slender, and sometimes
slow, it is well acted and well directed. Not a
children's film.

MAYBE IT'S LOVE— First National

A YOUNG couple, during the first six
months of a hasty marriage — the girl
desperate over lack of money and the boy
burdened by the interferences of her family —
is the theme of ".Maybe It's Love." Ross
Alexander makes the young husband an
extremely interesting person, but the picture
on the whole is frankly dull. Phillip Reed and
Gloria Stuart are hampered by their parts.
Frank McHugh, Ruth Donnelly, Helen Lowell
and Henry Travers.

THE SILVER STREAK RKO- Radio

'"THE new streamline train, hero of "The
Silver Streak," lends this picture a swift
dramatic sense. The human actors are forced
into the background by this mechanical miracle
which gallantly speeds across the continent,
delivering respirators to the stricken men at
Boulder Dam, and winning Sally Blane for
Charles Starrett. William Farnum is the old
railroad owner and Hardie Albright, his son.
Edgar Kennedy turns in a grand performance.

NIGHT ALARM— Majestic

T_JT.RE is a new picture idea — the firebug
who starts mysterious blazes and the
drama of tracking him down. It gives a grand
opportunity for a flock of spectacular fires and
you get all the thrill of going to them. There
is also a newspaper story with Bruce Cabot a
the young reporter who turns smoke-eater
and saves Judith Allen. H. B. Warner and
Sam Hardy help to make this quite worth
your while.

THE PERFECT CLUE— Majestic

XTOT too expertly made, but this murder
drama-society play has its moments.
You'll find the plot wandering a little as a
wealthy girl falls for a handsome stick-up man
and clears him of a "framed" murder charge by
blasting the state's "perfect clue." Brighl

moments are contributed by Skeets Gallagher
and a smooth performance by David Manners.
Director Robert Vignola has done well with
the slim cast and story handicaps. Dorothy
Libaire, Betty Blythe.

FLIRTING WITH DANGER—
Monogram

"DOH Armstrong, Bill Cagney and Edgar
Kennedy are tough guys in a Central
American high explosives plant. Their tinker-
ing with highly dangerous explosives and their
exploits with the "fair sex" form the basis
for much confusion and many laughs. Maria
Alba, as Rosila, the Spanish charmer, and the
rest of the cast, carry this comedy to a good
gag finish. Youngsters will find it fun.

HOME ON THE RANGE— Paramount

""PUIS is an up-to-date Western. And while
the old mortgage is still present, the crooks
who want it, use modern methods. Jackie
Coogan is Randy Scott's brother. Their
ranch is near Tia Juana so they are raising
race-horses as well as cattle — and Jackie rides
"Midnight" to win in spite of the opposition.
Evelyn Brent is the girl card-sharp who goes
straight with Randy to guide her. A few more
like this should make Westerns more popular.

FATHER BROWN, DETECTIVE
—Paramount

r^ERTRUDE MICHAEL is the one thrill
^^in this rather punchless crook drama. She
is gorgeous. Unfortunately, Walter Connolly,
as the priest with a flair for detective work,
lets his role become monotonous. And Paul
Lukas, as the crook who plans a robbery so he
can marry Gertrude, is woefully miscast. The
story material is good, taken from one of G K. |
Chesterton's famous "Father Brown" tales. '

WHEN A MAN SEES RED— Universal

TNCLE JED, on his death bed, forms a
^^^plan for pounding some sense into the
pretty blonde head of his niece, Peggy Camp-
bell, who won't leave her wild friends in the
East. He wills his cattle ranch to her and then
appoints his foreman, Buck Jones, as her
guardian.

There is, of course, the inevitable clash of
wills — until the final clinch. There are chases,
lots of shooting, some good trick riding, and
rescues.

IN OLD SANTA FE— Mascot

A SWIFT-MOVING, hard-riding Western,
^*- with plenty of action and lots of thrills.
It wraps up a dozen plots, for the price of one,
and untangles each of them neatly, never slow-
ing up the pace. Ken Mayimrd, his horse,
Tarzan, Evalyn Knapp, H. B. Warner, Ken-
neth Thomson, and the entire cast do a good
job. Youngsters and adults who enjoy fast-
shooting horse operas, shouldn't miss it.

RED MORNING— RKO-Radio

TF you're not tired of seeing savages sneaking
through the forest with poison spears,

Photoplay Magazine for February, 1935

I [3

unching canoes for tribal wars, scenes of
vage dances and sacrificial fires, you'll en-
y this. The lovely presence of Steffi Duna
the only new thing in the picture. And
rancis McDonald gives a good performance.
therwise it's old stuff, effectively done but
milar.

i THE FIGHTING ROOKIE— May fair

\ N out-and-out quickie which moves very
*-slowly. Cop Jack LaRue is "framed" by
gang who pulls a job on his beat, and his
ispension from the force threatens his ro-
ance with Ada Ince. Hut Jack j^ets in with

the crooks and sends 'em up the river. Packed
with trite situations and not so much lighting
as you've a right to expect.

DEALERS IN DEATH— Topical Films

T__TFRE is a film all those interested in world
peace will welcome. With news-reel shots
and many specially-made sequences the picture
aims to expose the munitions racket and to tell
the truth about war. Whether you are a
pacifist or not, you leave the theater horrified
at the high price of war and the tremendous
cost of armanents. It's interestingly put to-
gether, and a brave piece of work.

Mitzi's Hollywood Merry-Go-Round

CONTINUED FROM PAGE 75

>esn't have to work? Ann doesn't know the
lswer. As additional playmates, I might in-
rm you, our movie queen has also two cocker
laniels, several hens and a bunch of ducks,
le and Leslie Fenton, her talented husband
.e such an idyllic life. Paul Muni, by the
iy, is a neighbor.

Alice White goes for Oscar the cat. Oscar
is two dog companions, all living under the
me roof. Although said canines fight all
her cats in the neighborhood, they treat
icar with something resembling when Knight-
lod Was in Flower. If they didn't, Alice
llded, she'd wallop the dog biscuit out of
era! Before the meal was over, I knew by
art what food was best suited for domestic
.imals . . . what chickens deposit the best
tgs . . . and the grade of milk that Annie
igerly dispenses. You know, Joanie, I've
ways loved this rural-domestic sort of exist-
ice. Guess I'd better become a movie star,
ih?

Claire Dodd, the beauteous vamp with the
(in of a child, has given me such a swell
utine for facial care that I pass it on to you,
,ney. Nothing personal, of course.
First, at night you cream your face. (Twice
always better.) If you're a dry-skinner, I'd
ive some on. Next morning (you can do this
irt under the shower) scrub your pan with a
mplexion brush and any baby soap. Clean
d shining, you still go on scrubbing, this time
th either table salt or complexion sand. You
w splash this off with ten good, cold dashes
■HjO (water, lovey!). Dry hard now; rub in
me cream for softening; let it stay a bit; re-
bve; tonic, if you want it; make-up. Result?
tvishing!

AID I to Claire, "I can see it's marvelous
• . . your skin looks beautiful." To which
r fond husband made quick retort: "She's
sn more lovely when she wakes up in the
irning!" Zounds, what a man!
Not so long ago Jack LaRue's lady-friend,
o is Miss Simpson of Society, gave him a
]rty, and to all guests she said, "Be sure to
'tie early as I have an announcement to

!ke." We were all nearly killed in the rush!
t the announcement isn't an engagement at
We were, instead, informed that Mr.
Rue's nose had just been done over!
3ne of the new gaieties in these parts, Joan,
he Sunday Night Frolics, a vaudeville show
' ere anything can happen. Right after the
i ermission come the introductions, and last
' ';k when Bert Wheeler was introduced, up
j ped Groucho Marx, before Bert could get to
1 feet even, and bowed and threw kisses!

Then Will Rogers stood up and gave such a
touching speech on how wonderful it was to see
vaudeville again that everyone was gulping.
But for tears, there was no equaling when
Charley Ray was asked to take a bow. The
applause boomed for a full five minutes, and
Charley just stood there with his head bowed
at such a demonstration. Finally, he managed,
"I can only say I love you."

T'M sentimental now, pet, so don't stop me.

Fred Keating, who can throw me into a com-
plete state of ga-ga with his disappearing
canary act, next did the gallant thing by intro-
ducing the widow of Harry Houdini, whose life
Fred is going to portray on the screen. Fred
said that Houdini was a great master, and it
was a privilege to have known him. Mrs.
Houdini, standing in the audience with tears in
her eyes, threw Fred a big kiss.

Nothing leaves my tummy in such a devas-
tated state as emotion, so right after the show
we went to the Derby for hash. Across the
aisle was Bill Demarest and Ruth Mix (Tom's
daughter), who had just done a swell-elegant
act. We cajoled Ruthie to leave her party and
visit for a while. I had the most interesting
time listening to her tell stories of her daddy's
romance with her mother; how he taught Ruth
to ride and rope when she was a little girl; how
he got into pictures; and things like that. She
told me, too, that the type of pony that most
of our best polo players use was first bred by
her mother on their Western ranch, and is a
result of breeding an Oklahoma cow pony and
a Kentucky thoroughbred.

Let me tell you of the nip-ups May Robson
used to pull when she was a young girl like you
and me and belonged to a stock company under
the care of Charles Frohman. This particular
company was composed of a frisky bunch of
actors who were always pulling tricks on each
other. F'rinstance, once when the leading lady
started to carve delicately a cake in her big
scene, she had to saw and saw and then it
didn't do any good, because the cake was made
of wood! Well, she got even! Next day,
when one of the actors had to rip up a letter in
an emotional moment, he yanked and yanked,
but the dern thing wouldn't even rip. It was
a substitute made of linen!

Well, with one trick and another, the troupe
finally hit New York and Mr. Frohman gave
them a bawling out and told them to get back
on their dignity. Later, May came to him
alone and begged for just an opportunity to
avenge herself. Frohman gave in, but he
cautioned her, "After tonight, you start stop-
ping!"

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That's the treatment a cold requires
and anything less is taking chances.

When you feel a cold coming on, get busy
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Monday, Tuesday, Thursday and Friday, 1:45
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to-Coast Network

ii4

BOTH

Photoplay Magazine for February, 1935

CMcde*

PREFER

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as do ten million
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Encased in a beautiful red and gold
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belline to be assured of highest quality
and absolute harmlessness. Try it today.

That night, May, who played the sister, had
a scene with the leading-man where she had to
squeeze his hand goodbye before she exit-ed.
During that squeeze she slipped an oyster into
his palm! Frantically our hero looked around
for a place to get rid of it, but this was im-
possible as he was standing in the middle of the
stage. The next moment, out tripped the
heroine and threw her arms around him. Be-
tween torrid embraces the oyster changed
hands, but the lady, being fastidious by nature,
slipped it right back to the leading man again!
If the audience thought the loving pair acted a
bit hysterically, it was nothing to how May
was acting in the wings!

T'M a woman sadly in need of sympathy.
This past month has brought me a shattering
experience. For ages I've been angling for a
luncheon date with the charming Lew Ayres,
and finally it gets arranged. I sleep late so's
I'll look like a daisy and feel like a lark, then I
take two hours to dress till, Lawsie me, I'm as
devastating as Crawford. At this point dear
mama comes into my room and informs me,
with murderous nonchalance, that Mr. Ayres
and Miss Ginger Rogers have just announced
their engagement! Sweet?

Well, when I became resigned to the fact
that there was nothing I could do about it I
went on out to the Fox Studio ... a fair (?)
ady with a faint heart. ' I can tell you now,
dearest Joan, just how wonderful "Ginje" (as
Lew adoringly calls her) really is. I can tell
you of all her virtues ... her sound common
sense . . . her ability to draw . . . her pas-
sion for doing right ... her cute habits . . .
her exquisite taste ... her house-hunting,
this very day . . . and many, many other
things. In fact, there is nothing else of that
luncheon that I can relate, except All About
Ginje!

And, my fine friend, how did you like that
picture I sent you, last letter — the one with
Jean Harlow? Not a comment! And if I
hadn't been in such a rush to get it to you I'd
have been able to show it to Jean's mother!
Jean looked like a dream, of course; but the
unexpected was that I turned out to be a kinda
toothsome morsel myself ... or did you
notice? Anyway, while I was modestly telling
Jean's mama about it she broke in anxiously
with: "But how does my baby look?" I
tossed my hands to heaven. "Madam," says
I, "just how do you think Jean would look?"
She smiled. "Well, of course, she could take a
bad picture." "But she didn't!" I assured her
emphatically; and do you know, the dear
woman actually breathed a sigh of relief.

T WISH you could have seen her dotter a few
^nights ago at Van Dyke's party. (Ma-ma . . .
that man's here again!) A dream princess,
that's what she looked like in her black
Grecian robe tied with a long cord, sandals
from which silver toenails peeked (fingernails
to match) and gracing the famous platinum
cloud, a tiny black net tricorne. Pretty
special!

No less than five gents in as many minutes
came up to ask if they could bring her some
dinner. To all of them she gave the same
answer: "Thanks so much, but Bill's bringing
me some." Privately I was hoping that Mr.
Powell would shake a leg, for little Jeannie in
the meanwhile was fast demolishing my turkey
and black olives, both of which I craves
mightily. However, her boy friend appeared
about this time, not only with her dinner, but
having in tow Cotton Warburton, the U. S. C.
footballer. Jean reached with one hand for her
dinner (how does she keep that figger!) and

with the other she dragged Cotton down be-
tween us and complimented him on his magnifi-
cent playing. We ha'int been too proud of
our team this season, pet, but Cotton makes a
spectacular showing all by himself, and Jean
was mincing no words telling him so. The lad
was so happy he practically floated away on a
soft pink cloud!

Then we got literary for a bit while we dis-
cussed sister Ruth's book, " Song of the Flesh,"
that Jean wants to do if M-G-M buys it. The
star has been writing a novel, too, you know,
and I told her that I was not only a-dither to
read it, but also practically palsied about her
being so ambitious. Jean smiled. "I don't
know if I'm so ambitious," she said. "I just
like to work."

I might seize this occasion to remark that I
came to said party (the christening of Van's
new playroom) with Nelson Eddy. Just a few
nights previous I'd heard him in the operetta
"Secret of Suzanne," and as I listened to his
glorious voice I noted also what splendid ease
he had on the stage. Nelson confessed the
secret. Remember the swell cocktail party he
threw in his house? It was given in a big room
lined with mirrors. The house once belonged
to Lois Moran, and she built on the addition
and put in the looking-glasses because every
morning she practiced dancing. Nelson uses
them now while practicing his singing, so he
can see in what position he looks least awkward
and feels most comfortable!

•"THERE were droves of photographers at the
party, and I managed to dash into a picture,
as you can witness for yourself. I also had-
much joy, accompanied by Otto Kruger and
Jean Hersholt, in examining Van's famous
trophy room. One huge lion, who had given
himself up to floor decoration, looked so
pathetically like Metro's Leo that for no sane
reason Mr. Kruger draped the pelt over hi;
head and emitted a couple of extremely fierce
moo's!

Let's see, now, if I can remember all wht
were there. Frances Drake, Billie Burke
Jeanette MacDonald, Conchita Montenegro'
Raul Roulian, Jack Oakie, Ted Healy, Irem
Hervey (who's in my brother Jack's pictur
"The Winning Ticket" at M-G-M), Louis B
Mayer and scads of others. There were alsj
Van's prop men and their wives, his electrician
and their wives, and everyone had one gloriou
time. Some frolics, hey kid?

A LONG about two in the A. M., Jeanett
'**-MacDonald started to leave, upon whic
Nelson, in the foulest off-key notes I've evi
heard, sang out to her with operatic gesture
"Go-o-dbye, my fair one!" To which tl
lady, also in heart-rending discords, warblet
"Farewell, Nelson, I must leave, must lea\
you now!" But two hours later Jeanette st
was leaving. And my boy friend shrieki
sourly, "What— still here?" The Man
Widow let go a High C and twittered coy
back: "At last I go! At last I go! Farewel-1
A coupla sillies!

Now that I'm in a goofy mood I must reg£
you with one of Jack Oakie's tidbits
prisoner on the scaffold, about to be hange
was asked by the executioner if he wished
make a last request. "Yes," snapped t
condemned man. "Keep your darn tr;
shut!"

Heh-heh! Didn't think I'd spring that
you, did you?

Lots of love, babe!

Mitzi

Photoplay Magazine for February, 1935

Carol, Wally and Me

[ CONTINUED FROM PAGE 45]

I]5

HEE HAIR

Once, dull and lifeless

|iome at the time — but I knew I could depend
ipon him. That night I went home to him and
imply said, "Honey, how would you like to
lave a little girl?"
"How would I like to have a kid?" he burst
ut. " Why, I'd give anything in the world to
'ave her!" And from that time on, he talked
f nothing else.

The first night she arrived, we bought her a
.ed. The little angel just sat in it and quietly
latched us. She seemed to be fascinated by
he sight of Wally. Gradually Carol Ann
jegan to do things to attract his attention,
fhen one day she stuck her foot out and tried
) trip him. Wally turned around and started
b chase her. From that day on they've been
•al friends.

With the passing of time, Wally and Carol
nn have become inseparable. They go every-
•here together, and he even likes to buy her
iothes. Not long ago she outgrew her little
aderthings, Wally took her shopping in
ollywood. When they came back, I found
at they had bought some of those unfinished
.iby things that have to be sewn together.
Othing daunted, the pair of them, big Wally
id that little baby, sat down with needles and
read and tried to sew seams in a pair of them.
,vish I could describe the picture they made.
|In raising Carol Ann, I want to instill in her
f principles of love, sincerity and fair play.
'so I want her to have a knowledge of God
Id a definite goal in life. She can choose any-
ing which appeals to her— being a doctor,
Iyer, artist, writer, or actress— whatever in-
vests her most. But it should be something.
yill never stand in her way as long as there is
irihing actually harmful to her. That is why
Be no objections to her flying with Wally. I
* nt her to be brave and unhampered by the
' aredy cat" influence of an anxious mother.
t have always felt this way toward Wally,
tj. To me he is the rock of Gibraltar. And I
r'lize having a woman's apron strings around
| neck would be unbearable. Therefore, I've
r er objected to his flying, or anything he
h wanted to do. To tell the truth, I enjoy
H ng as much as he does. I went with him on
I first solo flight. After taking lessons for
i rly a year, Wally came home one day and

said, "Rita, I'm taking my first flight alone
today and I want you to be my passenger."

We went to Clover Field and flew for quite a
while. Wally showed me how to do a dead
stick landing at 5,000 feet and a lot of tricks.
My greatest thrill was crossing the Mojave
Desert with Wally. We ran into a terrific
storm which swept between the Sierras and
Death Valley. I was scared to death, but de-
termined not to say a word. Our little dog,
Gypsy, was with us and the jolting made her
awfully sick. When I saw Wally reach out and
strap on his safety belt, I could stand it no
longer and suggested we land. He brought the
ship down by a farm house about forty miles
from Bishop, Arizona. Then he sent word to a
nearby town and got a taxi to drive me to a
hotel in Bishop. All this time the storm was
raging worse than ever. Wally said he didn't
want to leave the plane alone and that he'd
wait until another car came, and then he'd
follow me. It took several hours for me to get
to Bishop, and as I stepped out of the car in
front of the hotel, there was Wally standing on
the corner with a sheepish look on his face.
He waited until my car got out of sight, climbed
right back into the plane and flew to Bishop.
That's Wally Beery.

Since Carol Ann has come into our family,
Wally and I have found complete happiness.'
She has supplied a missing something in
our lives which we hardly suspected was
there, but realized the moment she came to us.
My career is now raising her— making her and
Wally happy is the only glory I want. With-
out any ego on my part, I will mention that
before I married Wally I had a screen career
which appeared very promising, and before
giving it up I gave the matter a lot of thought.
But once I made up my mind I have never
regretted it— I have something far more
precious — a career more lasting.

We have a new plane. I am now fully recov-
ering from a recent illness, and when Wally has
finished "West Point of the Air" and several
other pictures scheduled for him at Metro-
Goldwyn-Mayer, we are going to take a vaca-
tion in Europe. We plan to fly over all the
countries we missed on our last trip— Carol,
Wally and me.

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IN LIPSTICK TEST

Photoplay Magazine for February, 1935

Addresses of the Stars

Hollywood, Calif.

Paramount Studios

Iris Adrian
Max Baer
George Barbier
Ben Bernie
Douglas Blackley
Mary Boland
Grace Bradley
Lorraine Bridges
Carl Brisson
Mary Ellen Brown
Kathleen Burke
Burns and Allen
Alan Campbell
Kitty Carlisle
Dolores Casey
Claudette Colbert
Elisha Cook, Jr.
Gary Cooper
Jack Cox

Larry " Buster" Crabbe
Eddie Craven
Bing Crosby
Katherine DeMille
Marlene Dietrich
Frances Drake
Mary Ellis
W. C. Fields
William Frawley
Paul Gerrits
Cary Grant
David Holt
Dean Jagger
Roscoe Karns
Lois Kent
Elissa Landi
Charles Laughton
Billy Lee
Baby LeRoy

Fox Studios, 1401 N. Western Ave

• Dick Powell actually mak-
ing the lipstick test between
scenes of "Flirtation Walk",
a Warner Brothers picture.

Popularyoung
star tells why
he chose the
Tangee Lips

• "I like a fresh
youthful face,"
said Dick Powell.
"And painted lips
always make girls
look old and hard."

They do, indeed, as millions of men will
testify. But Tangee can't make you look
painted, because Tangee isn't paint. Tangee is
the one and only lipstick in the world with the
magic Tangee color-change principle that pre-
vents that painted look.

In the stick, Tangee is orange. But on your
lips it changes to the one shade of blush rose
that is just risht for your type. It costs just
39 cents and $1.10, but if you'd like to try it
first, send 10 cents for the 4-piece Miracle
Make-Up Set offered with the coupon below.

T| World's Most Famous Lipstick
EHDS THAT PAIHTED LOOK

i contains the magic
gee cofor principle

• 4-PIECE MIRACLE MAKE-UP SET

THE GEORGE W. LUFT COMPANY P25
417 Fifth Avenue, New York City
Rush Miracle Make-Up Set of miniature Tangee
Lipstick, Rouge Compact, Creme Rouge, Face
Powder. 1 enclose 10V (stamps or coin).

Shade □ Flesh □ Rachel □ Light Rachel

Name .

Diana Lewis
Carole Lombard
Pauline Lord
Ida Lupino
Helen Mack
Fred MacMurray
Julian Madison
Marian Mansfield
Herbert Marshall
Gertrude Michael
Raymond Milland
Joe Morrison
Lloyd Nolan
Jack Oakie
Lynne Overman
Gail Patrick
Joe Penner
George Raft
Lyda Roberti
Lanny Ross
Jean Rouverol
Charlie Ruggles
Randolph Scott
Ann Sheridan
Sylvia Sidney
Alison Skipworth
Queenie Smith
Sir Guy Standing
Colin Tapley
Kent Taylor
Lee Tracy
Evelyn Venable
Mae West
Henry Wilcoxon
Virginia Weidler
Howard Wilson
Toby Wing

Frank Albertson
Astrid Allwyn
Rosemary Ames
Lew Ayres
Catalina Barcena
Mona Barrie
Warner Baxter
John Boles
John Bradford
Frances Carlon
Madeleine Carroll
Dave Chasen
Tito Coral
Jane Darwell
James Dunn
Jack Durant
Alice Faye
Peggy Fears
Stepin Fetchit
Nick Foran
Norman Foster
Ketti Gallian
Janet Gaynor
Harry Green
Rochelle Hudson
Roger Imhof
Walter Johnson

RKO-Radio Pictures, 780 Gower St.

Glenn Anders
Fred Astaire
John Beal
Willie Best
Eric Blore
Alice Brady
Helen Broderick
Bruce Cabot
Chic Chandler
Richard Dix
Steffi Duna
Irene Dunne
Hazel Forbes
Skeets Gallagher
Wynne Gibson
Alan Hale
Margaret Hamilton
Ann Harding

Jr.

Address -
City

.Stale.

United Artists Studios, 1041 N. Formosa
Ave.

Eddie Cantor Miriam Hopkins

Charles Chaplin Mary Pickford

Douglas Fairbanks Anna Sten

20th Century Studios, 1041 N. Formosa
Ave.

George Arliss Frednc March

Constance Bennett Loretta Young

Ronald Colman

Columbia Studios, 1438 Gower St.

Robert Allen
Jean Arthur
Lucille Ball
Tala Birell
James Blakeley
John Mack Brown
Jack Buckler
Nancy Carroll
Walter Connolly
Donald Cook
Inez Courtney
Richard Cromwell
Allyn Drake
Douglas Dumbrille
John Gilbert
Arthur Hohl

Jack Holt
Victor Jory
Fred Keating
Peter Lorre
Marian Marsh
Tim McCoy
Geneva Mitchell
Grace Moore
George Murphy
Gene Raymond
Florence Rice
Charles Sabin
Billie Seward
Ann Sothern
Raymond Walburn
Fay Wray

Culver City, Calif.
Hal Roach Studios

Don Barclay
Billy Bletcher
Charley Chase
Billy Gilbert
Oliver Hardy

Patsy Kelly
Stan Laurel
Billy Nelson
Our Gang
Douglas Wakefield

Metro-Goldwyn-Mayer Studios

Brian Aherne
Katharine Alexander
Elizabeth Allan
Lionel Barrymore
Wallace Beery
Virginia Bruce
Ralph Bushman
Charles Butterworth
Mary Carlisle
Leo Carrillo
Ruth Channing
Maurice Chevalier
Mady Christians
Jackie Cooper
Joan Crawford
Jimmy Durante
Nelson Eddy
Stuart Erwin
Madge Evans
Muriel Evans
Louise Fazenda
Preston Foster
Betty Furness
Clark Gable
Greta Garbo
Gladys George
C. Henry Gordon
Ruth Gordon
Russell Hardie
Jean Harlow
Helen Hayes
Louise Henry
William Henry
Jean Hersholt
Irene Hervey
Isabel Jewell

June Knight
Otto Kruger
Elsa Lanchester
Evelyn Laye
Myrna Loy
Jeanette MacDonald
Una Merkel
Robert Montgomery
Frank Morgan
Karen Morley
Ramon Novarro
Maureen O'Sullivan
Cecilia Parker
Jean Parker
Nat Pendleton
Rosamond Pinchot
William Powell
May Robson
Shirley Ross
Rosilind Russell
Maurice Schwartz
Norma Shearer
Frank Shields
Sid Silvers
Martha Sleeper
Harvey Stephens
Lewis Stone
Gloria Swanson
William Tannen
Robert Taylor
Franchot Tone
Henry Wadsworth
Lucille Watson
Johnny Weissmuller
Diana Wynyard
Robert Young

Universal

Universal Studios

Heather Angel
Henry Armetta
Nils Asther
Binnie Barnes
Noah Beery, Jr.
Dean Benton
Mary Brooks
Willy Castello
June Clayworth
Carol Coombe
Philip Dakin
Ann Darling
Andy Devine
Sally Eilers
Valerie Hobson
Sterling Holloway
Henry Hull
G. P. Huntley, Jr.
Lois January
Buck Jones

City, Calif.

Boris Karloff
Frank Lawton
Bela Lugosi
Paul Lukas
Florine McKinney
Douglass Montgomery
Victor Moore
Chester Morris
Hugh O'Connell
Roger Pryor
Juanita Quigley
Claude Rains
Onslow Stevens
Gloria Stuart
Margaret Sullavan
Francis L. Sullivan
Polly Walters
Alice White
Clark Williams
Jane Wyatt

Burba nk, Calif.

Warners-First National Studios

Ross Alexander
Johnnie Allen
Mary Astor
Arthur Aylesworth
Robert Barrat
Joan Blondell
Glen Boles
George Brent
Joe E. Brown
James Cagney
Enrico Caruso, Jr.
Hobart Cavanaugh
Joseph Cawthorn
Colin Clive
Ricardo Cortez
Dorothy Dare
Marion Davies
Bette Davis
Dolores Del Rio
Claire Dodd
Ruth Donnelly
Maxine Doyle
Ann Dvorak
John Eldredge
Patricia Ellis
Florence Fair
Glenda Farrell
Errol Flynn
Grace Ford
Kay Francis
William Gargan
Hugh Herbert
Russell Hicks
Leslie Howard

Ian Hunter

Lloyd Hughes, 616 Taft Bldg., Hollywood, Call
Harold Lloyd, 6640 Santa Monica Blvd., Hollyw
Calif. „ _ .I.

Neil Hamilton, 351 N. Crescent Dr., Beverly «•
Calif. ,. „ „„

Ned Sparks, 1765 No. Sycamore Ave., Holly «"'
Calif. T, ,,

Alan Dinehart, 2528 Glendower Ave., Hollyw i
Calif.

Josephine Hutchinson

Allen Jenkins

Al Jolson

Olive Jones

Ruby Keeler

Guy Kibbee

Robert Light

Margaret Lindsay

Anita Louise

Helen Lowell

Aline MacMahon

Everett Marshall

Frank McHugh

James Melton

Jean Muir

Paul Muni
Pat O'Brien
Henry O'Neill
Dick Powell
Phillip Reed •
Philip Regan
Edward G. Robinson
Winifred Shaw
Barbara Stanwyck
Lyle Talbot
Verree Teasdale
Genevieve Tobin
Dorothy Tree
Marv Treen
Harry Tyler
Rudy Vallee
Gordon Westcott
Warren William
Donald Woods

Photoplay Magazine for February, 1935

Screen Memories From Photoplay

15 Years Ago

1 17

EVIiR since there have been
movies, it seems, there have
been girls wanting to know how
to become screen successes. In
||iis issue, Jesse L. Lasky, the
producer, told them the secret
«;h hard work, lots of it, then
more hard work. In the same
issue a number of stars told what
lines of work they would have
chosen if Fate hadn't landed
them a screen test. Marjorie
Rambeau said if she had to leave the screen she
would choose to become a physician. Billie
Burke thought she might have been a success-
ful painter. (Both are still in the movies, how-
ever.) Little Marguerite Clark said when her
movie career ended she would keep the wolf
from the door designing dolls. Marguerite,
however, happily married to a gentleman
with a substantial income, is quite content to-

Olive Thomas

day with a house to manage.
Salaries of the stars were just be-
ginning to become a topic of con-
versation. When Photoplay di-
vulged the secret that Nazimova
was earning thirteen thousand
dollars a week, lots of tongues
wagged. .Mary Pickford was
making close to half a million a
year. Just a few pages farther on
was an article entitled, "The
Gentle Grafters," telling how
many of the stars used their glory as a basis
for petty grafting — demanding the studios
to give them the gowns they wore in pictures,
exacting large rake-offs from the shops for
their patronage, etc. Among the best pictures
were "Anne of Green Gables," with Mary
Miles Minter and D. W. Griffith's "Scarlet
Days" with Richard Barthelmess and Carol
Dempster. On the cover Olive Thomas.

10 Years Ago

npillS was an issue for the men!
■*■ Started out by asking twelve
famous actors the question,
"What is Love?" Doug Fair-
banks answered, " I've been try-
ing to find out for years! What-
ever it is. it's wonderful!" A
little more explicit was Douglas
MacLean, "Love is the chem-
istry of the soul." John Gilbert's
definition was "Love is sharing."
Ben Lyon, screendom's newest
hero, gave his impression of the three leading
vamps of the day. Briefly, his descriptions
were: Gloria Swanson, a polished jewel. Pola
Negri, a gorgeous and honest pagan. Barbara
LaMarr, a Lorelei and a Circe. In this issue
Constance Talmadge told "Why Men Fall in
Love with Actresses." According to Connie,
there were two reasons: Because an actress is,
and must be, heartless; and because men think

Monte Blue

actresses are naughty. Mary
Pickford wrote an article en-
titled "When I Am Old" — in
which she said she wanted chil-
dren, and expected to leave the
screen in three or four years to
lead a domestic, normal life.
"The Man Who Found Him-
Jk self," was Monte Blue. And he

did it by marrying Tova Jansen.
Tova and Monte have two chil-
dren now; Barbara Ann, now
eight years old and Richard, who is five. In
its Shadow-stage Department this month,
Photoplay commented unfavorably on the
two most important pictures of the day. Von
Stroheim's "Greed," and Von Sternberg's
"The Salvation Hunters." Good films in-
cluded Gloria Swanson in "The Wages of
Virtue," "A Sainted Devil," with Rudolph
Valentino. Cover, Florence Vidor.

5 Years Ago

•"THE big controversy of the

day was the length of ladies'
skirts. They had been short and
now Paris threatened to make
them long. Thirty stars were
asked what they thought of long
skirts and all were in favor ex-
cept Nancy Carroll who said she
wouldn't wear long skirts — ■
thought they were uncomfort-
able. (However, the last time we
saw Nancy, her skirts were regu-
lation length.) Clara Bow was just beginning
to wage her long campaign to stay thin. Many
critics were saying that little Jean Arthur
in "The Saturday Night Kid" had stolen the
picture from Clara.

Another important question of the day was
whether or not sound was ending the screen
career of Jack Gilbert. (It did for a while.
liut Jack recently came back with a bang in

Bessie Love

"The Captain Hates the Sea.")
Jack's and Ina Claire's marriage
was just steering into troubled
waters. Bessie Love and William
Hawks were married (and still
are). This issue carried a grand
description of the tortures suf-
fered by those who went to Africa
to make "Trader Horn." It is
reported that Edwina Booth, the
film's blonde heroine, had suf-
fered a "touch of fever." Edwina
is today an invalid because of the effects of
that trip and the fever. Warner Baxter was
marked for stardom because his voice recorded
well. Sound was still so young they called
the town Howlywood! Best pictures included
"Devil May Care" with Ramon Novarro and
Dorothy Jordan, "Hit the Deck," "Seven
Days' Leave" with Gary Cooper and Beryl
Mercer. Ruth Chatterton was on the cover.

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Photoplay Magazine for February, 1935

ave
REDUCED
MY HIPS
9 INCHES

with the

PERFOLASTIC GIRDLE

• • . writes Miss Healy

if maseagee like
magic" . . . writes Mips